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VQkUjHE XVII - OCTOBER. 1899 -* NU/rt$ER 10 


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»C0NTENTS» 


Editorials,.307 

On Program Printing. TV. F. Gates .308 

Unprofessional Advertising. C- D. Rohland, .... 308 

Dnmb Pianos. Ward Stevens .309 

About Tuning. R. Brains .309 

How Leschetizky Teaches Memorizing. C. N. Smith, . 310 

A Little Knowledge. W. J. Baltzell, .HO 

The First Step in the Instruction of Young Children, . . 310 

Mechanical Music,.310 

To a Piano. Mabel S. Himoe, .310 

Letters to Pupils. J. S. Van Cleve .311 

Honesty in Advertising. H. L. Lahee, .312 

Musical Items,.313 

Letters to Teachers. W. S. B. Mathews, .314 

The Actual Effect of Music Upon the Imagination. By 

Robert Swayne, .316 

Types of Teachers, or Mayburn’s Madness. By Leonard 

Liebling, .316 

Music or Notes. By Marie Benedict, .317 

The Development of the Artistic Sense. By Perly Dunn 

Aldrich, ..s . . *317 

Lost Ideals. By Franklin Petersen, .317 

The Value of the Musical Magazine. By Henry Hollen, 818 

How to Memorize. By Otto S. Jonasch, .318 

New Publications,.319 

What Makes Music Successful? By Thaleon Blake, . . 819 

Thoughts, Suggestions, Advice,.320 

Questions and Answers,.821 

Studio Experiences.322 

The Uninterested Pupil. By Alfred H. Hausrath, • • 323 
Conservatory and Private Teaching. By Henry C. Lahee, 323 

Musical “ Don’ts,”.* 328 

Woman’s Work in Music. Edited by Fanny Morris Smith, 324 
Organ and Choir. Edited by Everett E. Truette, .... 32b 
The Death of Oscar Raif. By Edith Linxcood Winn, . . 

A Few Words of Chopin’s Works. By C. Fred Kenyon , 

Migratory Pupils.. 

Vocal Department. By H. W. Greene, ... 


328 

328 


Publisher’s Notes.®31 


JWUSIC 

Valse Lente. M. Sieveking, . 

8pring Song. V. Hollander, . . . ■ 

Hungarian Dance. B. Wolf, .... 

Remembrance. H. Pratt, . 

Hells of Old Munster. B. Rowdemath, 

Silent Prayer. T. Kullak, . 

Teasing. AT. von Wilm . 

Pretty Grace. E. E. Farranger, . . 
Dearie. L. Oehmler . 


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AN EDUCATIONAL 
MUSICAL JOURNAL 
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THE ETUDE 


The fldelphi School of jVlusieal Riot 

Musical Department of Adelphi College. 


Dr. Henry G. Hanchett, Director. 


No. 136 Fifth Avenue, 


NEW YORK CITY. 


flbbUaMpbta 

Musical 

Hcabemp 


1617 Spruce Street, Philadelphia. 
6029 /Vlain Street, Germantown. 


The Oldest Successful School of Music. 

31st Season. Terms, $7-50-$30. 


Private and Class Lessons in all Branches of Music. 


INSTRUCTORS 

PIANO—K. Zeckwer, Aim6 Lacbamne, C. JANKO PIANO—L. Howe. VOCAL—Carl Schacliner, Miss M. Buedinger, 

Samsns, L. Howe, R. Hennlg, F. Croason, W. SIGHT SINOING-B. Zeckwer. and H. L. Kirkland 

Lep., Camille Zeckwer, Mieee. Sower, Sntor, ORG AN-David Wood, F. Creeaon, L. Howe. THEORY-B. Zeckwer, F. Creeson, C. Zeck- 
Tiera, Dari., Henderaon, Hall, Walker, Mra. VIOLIN-Carl Doell, Howard Battay. wer. 

J. Tier*, L. Corbin, E. Mohr. VIOLONCELLO—B. Hennig, L. Trein. ACOUSTICS-R. Zeckwer. 

Teachers’ and Pupils’ Concerts in our own Concert Hall. For illustrated circulars apply to 
Hook Sc Hastings Church Organ, blown by electric motor. ZECKWER DiFCCtOT 


The Clavier 


Company 


A. K. VIRGIL, Director. 


Ikmbergarten. 

IRtnbecgarten 
/IDustc JSutlMng,,.. 

The Science of Music for Children. 

IpHIS new and interesting method of teaching the nidi 
mente of music to beginners, either individually or 
in classes, is both simple and scientific in contraction 
and is highly endorsed by leading musicians. Its chief 
charm lies in its simplicity and truth. The nractica 
proof of its utility is demonstrated by the pleasure and 
knowledge the children gain from joining the classes 

originator of the method. 

During the season of 1899 and 1900 classes will be 
formed in Boston. For circulars and information send to 

MRS. N. K. DARLINGTON, 

86 Beacon Street, Boston, Mass. 
THEODORE PRESSER, 

1708 Chestnut Street, Philadelphia. 

Musical Kindergarten a Pianoforte 

By FANNIE CHURCH PARSONS. 

For full information concerning normal instruction or children's 
class work, address 

Mrs. Parsons’ Normal Training School, 

2310 Indiana Avenue, CHICAGO, ILL. 



Fletcher Music Method, 

tcilini r- w _ _ . _ .. 


Specialist in- 


(SIMPLEX AND KINDERGARTEN.) 

TT l-IP O T M of the Method is to 

P rtlfVl eliminate the 

DRUDGERY of the study of Music, 
and to give a FUNDAMENTAL, SYSTEMATIC 
AND LOGICAL MUSICAL education in a way 
that shall be natural and pleasurable to children, 
and so make it possible for Music to exercise her 
threefold power of development. 

After completing the course the child goes 
to the instrument, reads music readily, knows the 
keyboard, recognizes chords, keys, etc. The ear 
has been trained, and rhythm and time have been 
developed as well as technique, and, best of all, 
in such a way that the love of Music has increased 



Originated by EVELYN ASHTON 
FLETCHER, and indorsed by DR. HUGO 
R1EMANN, JAROSLAW DE ZIELINSKI, 
Buffalo, M. ANAGNOS, Director of the Per¬ 
kins Institute, Boston, MADAME HOPE- 
KIRK, SIGNOR ROTOLI, THOMAS TAP¬ 
PER, PHILIP SOUSA, JOHN ORTH, and 
many other prominent Musicians and Edu¬ 
cators of America and Europe, and adopted 
by many ofthe largestCONSERVATORlES 
and Music Schools. 


- muon/ nun lucreasra ' * — — 

se 1 f• ftXfmelosin M1«|“ k “ 0 " 1 eflge ' T,lls Vstem teaches from the child's standpoint, and furnishes him with all that is necessary for perfect 

Miss lUetclie^tndied^r flF' Ml98 F *! tcher has lnst rncted over 160 teachers, and the demand for the Method is greatly increasing, 
rals, and Paris Ear0I> °’ " Dd retUrned iQ Ma ^ from a succesafu. lecturing trip to London, I-eipeic, Berlin, Bros- 

Fall Term Opens Monday, October 2d. with 1 mbs''kTetcheb"' 1 ,n teaching aro proteotod by PATENT3 ' and can only be obtained by taking the course 

NORMAL CLASSES are held in BOSTON, NEW YORK, CHICAGO, and CINCINNATI 

Or to the Cor. F &c in lf r the t Retcher y M 0 A EVELYN ASHT0N F*-ETCHER, ,,25 Madison Ave., New York, 

Or M us > cal 'Association, Miss Caroline Southard, 22 Huntington Ave., Boston, Mass., 

mrs - E - A - Sturgeon , 123 Fifty-first Boulevard, Chicago, III. 


Piano Teehnie 

Assisted by competent Teachers trained 
In the speeial methods employed. 


Pupils are requested to present themselves 
for examination and enrollment on. 


Saturday, September 30th. 

Class and private lessons. 

Special courses in Ear-Training and Theory, History 
of Music, and Physical and Mental Training, FREE 
to all registered pnpils. 

Pupils received for Private Lessons at any time. 

Send for prospectus (32 pp.) giving full particulars of 
the unique methods of the School. 

The Clavier Company Piano School, 

26 West 15th Street, 

NEW YORK. 


ADKINSON MUSICAL KINDERGARTEN SYSTBM. 

U^^n£ d cSS£. lnt0 tW6nt7 ‘ tbre * SUte * Territorie. of On 
IMPROVED EDITION. PRICE REDUCED TO t2.00. 

Inquire of M. E. ADKINSON. J.llereou, low*. 

Now England Conservatory of Music. 

Rounded in 1858 by Dr. Eben Tonrjie. 

CHAS. P. GARDINER, President. 

QEORCE W. CHADWICK, A.M., Director, 


HARMONY AND MUSICAL THEORY— By Mail 

AiliHQht by Carl Edward Woodntf, Comceri Pi mi*, TkeortM mdCompoMr 
A pamphlet oontaining valuable Information and describing this 
method will be cent on receipt of your address, If yon mention Tai 
Etodk. This pamphlet should be to the hands of every progressive 
teacher. Send lor it To-day I 

Addrces CARL E. WOODRUFF. Franklin Park, 111. 


TH* LEADING C0N8XBVAT0BY IN AMERICA 
SEND 0BULLF0R ILLUSTRATED PROSPECTUS AND CALENDAR 

RANK W. HALE, General Manager, 

Franklin Square, Boston, Mass. 


COLtliEGE OF jVriJSIC, Ced< £ t £. pld ’’ 


The acknowledged leading school in the West. 

Methods of instruction endorsed by artists. 

20 teacherB from best European and American 8chool§. 

“Mr. Hairs boy soprano's singing before the De Rezskes, La* • 
Plancon, and other op»ratic artists brought forth the hearty 
ment of the method of instruction used by Mr. Hall.”— Chicago 
cialtd Pres* Dispatches. Send for new prospectus to 

WILLIAM J. HALL, Director. 


SCHOOL FOR THE PIANOFORTE, 

447 Soledad St., San Antonio, Texas. 

Mason’s Touch and Technic artistically itr parted. 
Pupils from this school stand among the highest 
ever they have entered. The winter climate unrivale 
for Northern people. For particulars address, 

Mention thi. paper. HORACE CLARK, Jr. , Principal 

flMATEUH COMPOSITIONS, 

(vocal or instrumental.) 

Revised for Publication; also arranged for Orchestra or Military 
Examination Fee and critical opinion, $1.00. 

Address, WOLDEMAR MALMENE, Mus. Bac. Cantab.. 
2704a Locust Street, St. Louis, Mo. 


THE PUBLISHER OF THE ETUDE CAN SUPPLY ANYTHING IN MUSIC, 



VOL. XVII. 


PHILADELPHIA, PA., OCTOBER, 1899. 


NO. 10 


§hb Ctude. 

H Monthly Publication fob the Teaehess and 
Students of Jfltisie. 


Subscription Rates, $1.50 per year (payable ta advanotfl. 
Two Subscriptions or two years in advance,. . . ®*®P' 

Three Subscriptions or three years m advance, . 

Single Copy, ... ' 48 cents'. 

Foreign Postage,. 


DISCONTINUANCE.—If you wish the Journal stopped, an 
explicit notice must be sent us by letter, otherwise it will 
be continued. All arrearages must be paid. 

RENEWAL.-No receipt is sent for renewals. On the 
wrapper of the next issue sent you will be printed the date 
to which your subscription is paid up, which serves as a 
receipt for your subscription. 

THEODORE PRESSER, 

1708 Chestnut St., Philadelphia, Pa. 

Entered at Philadelphia P. O. as Second-class Matter. 

Copyrighted 1899, Theodore Presses. 


The first day of October sees the fraternity of music 
teachers at work. The failures of the past season, its 
disappointments and its fears, are wiped from the slate. 
This is a new year ; new and just as good as we our¬ 
selves choose to make it. Isay “choose” advisedly. 
Every step of music-teaching and music-living is a 
choice. We choose what we will impart and how we im¬ 
part it. We choose our own temper and our own reflex 
environment; the path in which we walk is the one 
we cut through the thicket of life with our own ax. 
The things we see, the thoughts we think, the thoughts 
others think at our suggestion, are all part and parcel 
of ourselves. If we will center ourselves in good-will 
and quietness of spirit, we shall draw all good things 
out of our pupils and our patrons to ourselves. If we 
are aggressive, preoccupied with our own grievances, 
and perturbed in spirit, we shall meet perturbed pupils 
and patrons every step of the way. YVe draw to us 
what is akin to us. Our own is what is related to us. 
Symmonds said tmly, in his “History of the Italian 
Renaissance,” that the accomplishment of the geniuses 
of that epoch was beyond the powers of humanity ; 
and that the united aggregate of the talent of the age 
famished an artistic atmosphere which fed Leonardo 
and Michelangelo, Petrarch and Boccaccio, while it 
buoyed np lesser spirits to achievements of which they 
were otherwise incapable. The possibility ot drawing 
on the atmosphere of the highest contemporary spiritual 
life is no less real than it was in the time of which Sym- 
tnonds wrote ; but to avail ourselves of it we must put 
oside the pettiness of our own amour propre and, open¬ 
ing onr human doors, as Emerson puts it, let the great 
tides of the universe flow through our inner being. 
Souls that know this secret are fed according to their 
need ; yea, even their need of piano technic and in¬ 
citing methods.” 

We all intend to “ be broad,” as The Etude exhorts 
08 to be, in teaching and thinking. There are degrees of 
breadth. If the teacher who last year knew but one piano 
toueh comes back to work with two, he has doubled his 
resources. Teachers who command ten touches and have 
added one more do not feel quite the same consciousness 

of gain, but the addition to their power is just as real. So 

with music-teaching as a whole. As we become more 


make in the artistic life. We can not advertise a brand 
new method when we have passed beyond the gate of 
method into art. Method is a door to art. The artist 
has passed through it; but the public who have not are 
apt to purchase tickets by the latest road advertised in 
the guide-books. Years ago careful parents ticketed 
their offspring to music, via Leipzig; then they heard of 
a great “ Through Line, No Stops, via Stuttgart.” Last 
year they got news of a “ Fast Mail, no Baggage—the 
Leschetizky Method.” And a great many people got 
into the kingdom of art afoot after all! 

We hear very often about bad teaching ; bnt I never 
saw any one who was conscious of being a bad teacher. 
Bad music-teaching is very much like the Rochester 
lawyer’s idea of temperance. They told him that an 
old friend had died of too much had whisky. He said 
he was sorry he was dead, bnt he objected to the term 
“bad whisky”; some whisky might be better than 
other whisky, but he did not think any should be 
spoken of as had. Music teaching, considered in the 
light of twenty years’ experience, should receive similar 
appreciative treatment If you examine the pupils of 
teachers scattered all over the world, as the editor has 
done, the thing that stands out clearest is that what 
teachers deliberately instil into their pupils is usually 
correct. The shortcomings ofthe pupil result from what 
has been omitted from the instruction. 

None of us comprehend all there is to teach in any 
one step of musical instruction. The tea. her of **“- 
ners who has brought them to a certain point of ad vance¬ 
ment does not suspect that around the comer lnes a 
rival who has a secret that will save two weeks prac¬ 
tice out of each quarter. Perhaps putting too much 
faith in “ the method ” caused her to overlook it, or it 
mig ht have been the advertising qualities of 

method.” 

Once a little girl was «k«l to nsme tbe heathen 
after we had worshiped Acrimonious ourselves we under- 

for progress. 

Two touch. —M *><f —‘’T* .*-.* 

i wo xouv limit ourselves to touches > or, 

broad te^her- I' ^ why comprise music in 

waiving the matte te hes tone ; beyond tone, 

style ; beyond style, £ ^ creative 

tion, musical cultu , ^ ^ on , y ph ,*ea of 

j is unbalanced. 


many that everybody's music not composed or inspired 
in Germany was ruled out What if a little French 
trifle should win yon the good-will of a pupil ? or sup¬ 
pose the coveted piece were a product of the “American 
provinces ” ?—to yield would be not infidelity. 

It is astonishing how ninch we can get out of looks ; 
especially books that we read easily. Yet since Calvin 
darkened the horizon of pleasure, how much is done for 
self-advancement that ia mneb 1 letter left undone ! W by 
read a book you do not enjoy ? You are robbing yourself 
of the pleasure it would give you ten years hence. Why 
hear mode that does not delight yon f If yon freqnented 
concerts that gave what yon secretly enjoy moat, you 
might be building up your own genius. If this year is 
to be a season of genuine progress, choose for yonr read¬ 
ing what you are hungry for. If you are not hungry 
for anything, ride your bicycle until you are. The lull 
sonl loatheth the honeycomb. But when the day comes 
that yon long for a liook, go without lunches for s 
week, if necessary, bnt buy it, and wake up miles on 
your roa<l to art next morning. 

The great point in dealing with music-teaching is to 
realize that desire comes first; desire to leam -that is 
spiritual. Then comes the getting instruction into the 
mind of the scholar; this is a psychologic proceed 
iog The development of technic is a matter of g.vm 
nasties ; that is to say, a matter of physiology. Then 
there is the actual operation of the levers in tbe piano 
left and that is mechanics. Yon wonld sdd tone* Then 
you add acoustics. Four great sciences divide the art 
and practice of mostc between them : psychology, physi¬ 
ology, mechanics, and acoustics. How many piano 
teachers have ever even counted them np T How many 
have considered that art, being the expression of the 
sonl in terms of beauty, la five-sixths of it created In the 
soul itself? The other sixth ia worked out in material 
object, and under the laws of matter, and m*'W snd 
tbe laws of it are the expression of the will of tbe 
Creator, and perfect art iiecauee they exprem tbs 
Divine Mind. 

❖ 

The letters of Hans von BUlow ought to be a great 
comfort to teachers who are troubled e»*ul the claims 
of “elevated mosic” as against pojmlar-which this 
year threaten, to be r.g time Dr Han. 
who drilled the Meiningen Ofcbeetre, which *» 

tbe symphonies of Beethoven by heart ; Dr. von BUtow, 
wh o surrendered the b.ppines. of b ‘* ,,f * '* jj* £ 
vanceroent of tbe Wagnerian movement; Billow who 
edited Bach, rein.reduced Hcsrlstti, snd sAorrd Brahms^ 
for six whole weeks » drnblwd a quadrille on atm from 
Martha” into tbe clumsy fingers of a naughty little girl 
thirieen yearn old, and, a» the context proved, -l by 
her an hour a day while abc practiced it. 


Hra ,C-,K.C»,KO 

» r “ r >”"7 “■> ■" 

jus*.«*«"**: 


A LITTLE learning is a very mialeading thing. One 
who has but little is sure to to he soaring ,d *^ 

abstractions, and it is generally tbe aovlce wbo Ui » * 
qnently of art for art’s sake, etc. He toads. 
serve bis art goddea. only by "&***« 1 
attitude in a nebulas of bis own. 

will show that it is from eonM.lerxt.on of the 

































































































































































308 


MiUet '8 “Angelas,” Bach’s choral music. There is 
inspiration enough in the common heart of our human¬ 
ity, and we need not go up in a balloon to reach the best 
“ atmosphere.” Scientists tell us the purest air is to be 
found just twenty-five feet above the earth ! 

*.*• 

Thebk will be a great many fine concerts and piano 
recitals this winter. De Pacbmann is in New York, and 
so is Mme. Sembrich. Joseffy takes the field again. 
Paderewski appears in December. Josef Weiss, than 
whom no more inspired Brahms player exists, will in¬ 
terpret his master in New York and elsewhere. Ham- 
bourg, a new pianist, is announced by Victor Thrane, 
who also manages the Russian violinist Peschkofl and 
Leonora Jackson. Arthur Friedheim returns to conduct 
an orchestra, but he will certainly play. Adele aus der 
Ohe and Bloomfield-Zeisler both have tournees planned 
and booked. The Kneisel Quartet, of Boston, yearly ex¬ 
tends its circuit, and this season a new string quartet, 
led by Sinnsheimer, promises to be a credit and pride to 
New York. 

This is not half there is to hear. Let ns make econo¬ 
mies in bonnets and renounce cable-cars; let us pacify 
our delinquent pupils, and mortify the flesh by instruct¬ 
ing them ; let us put money in our purse and hear some 
of those concerts, and, hearing them, let us feed on all 
that is worthy aiql inspired in the music, and forgive 
what is alien to ourselves. So will we grow mightily. 

And let those of us who can not gratify themselves by 
concert-going, at least read the best criticisms thereon, 
and, taking heed to them, make melody in our hearts. 
It may be that some angel hovering near will awake 
within us a strain of music purer, sweeter, more divine 
than mortal ears can entertain. Sometimes people grow 
best from within out. 

Great teachers are never duplicates of one another. 
In our time we have had acquaintance with most of 
the best-known teachers in America. There was S. 
B. Mills, who instilled the Leipzig touch ; and there 
is Bernard Boekelman, the editor of “Bach in Colors,” 
who has collected the best points of all schools; 
there is Dr. William Mason, well known to the readers 
of The Etude by “Touch and Technic,” and Mr. 
Parsons, equally reverenced by the admirers of the 
synthetic method ; and Dudley Buck, who taught, as 
a composer should, from the standpoint of inspiration ; 
and there is Richard Hoffman, who awakes in his stu¬ 
dents a love of musical culture and musicianship quite 
aside from pianism, and who has greatly aided in 
forming the most cultivated amateur musical life in 
the metropolis. All these men are known from the 
Atlantic to the Pacific ; each has taught pupils who 
revere his musicianship, and gladly trace their life’s 
success to him. Not one resembles the other in 
tone, touch, temperament, theory, or even stock of 
information. The world of music is wide ; each has 
worked on his own line. To the thousands of musi¬ 
cians who read these lines The Etude says, have 
courage to be yourselves—to work out your own musi¬ 
cal life in your own way. And, no matter what that 
way may be, so it be honestly, faithfully, and intelli¬ 
gently sought, The Etude will help you forward in it 
with a firm hand. 

Ambition is a good thing for the music student if he 
does not misuse it. If misused, it may be a very bad 
thing for him. This misuse is allowing it to continually 
dominate his thoughts to the exclusion of realization of 
the necessity for hard and continuous application. 

For this reason one might almost advise, as has been 

said centuries ago, “ I charge yon, fling away ambition”_ 

that is to say, temporarily forget it, or let it not have 
too high a flight. To keep dreaming of the days when 
one shall be a full-fledged artist is a sad mistake. But 
with the temporary ambition, the smaller ideal, to play 
this passage or that correctly, to master this or that 
difficulty, such ambitions, though small, are helpful. 

It is not of these legitimate ambitions that we write. 

It is of the dreamy, far-away vision that tends to dis¬ 
courage the student; the ambition that deals not with 
more or less immediate possibilities, but with visionary 
improbabilities. Put industry in the place of such am- 


THE ETUDE 


bition. Let work take the place of dreams. Let the 
thought be not “What shall I be then,” but “What 
am I doing now.” Along this road lies success. The 
patient, persistent plodder, having once decided to do the 
best that is in him, will outrank the more brilliant but 
less industrious dreamer. 

Thebe are still a number of days to come in which 
the teacher can spend some leisure hours in the open air, 
and, amid the rush of starting new pupils and the pres¬ 
sure of a new season’s work, he should not lose sight of 
the necessity of looking after his health. The rest he 
may have had during the summer months may have 
strengthened his physical and nervous forces, his mental 
vigor may have been increased by freedom from the 
vexations and demands of teaching, yet the bracing air 
of the fall season, now with us, will add greatly to the 
store already laid up if the teacher will get out into the 
city parks, the byways, and woods, and get close to 
nature. There is no tonic like sunshine and oxygen in 
liberal doses. A generous admixture drives away the 
“ blues ” and relieves the disordered physical conditions 
which are often the primary causes of the “ blues.” 
When a man is in good health and spirits, he can throw 
off care and worry with ease. While the favorable 
season lasts, the teacher who anticipates a busy season 
should use it to the full and store up surplus energy of 
body, nerve, and mind for the taxing days to come. 

Consideb, for a moment, yonder beautiful and per¬ 
fect apple-tree. See, it has a thick and lusty trunk ; its 
branches are many and strong ; its smaller boughs and 
its twigs are countless. They are hung profusely with 
bright green leaves, and the globes of the golden and 
emerald fruit are pendulous at every point. But ob¬ 
serve, through all this intricate massand aerial structure 
of branch, and leaf, and fruit the air plays freely. Now 
it steals in like a whisper, as if it were a merry child 
playing at mock secrets. Again it briskens and rustles 
the leaves petulantly ; then it dies away, as if it were 
faint and weary. Then it arouses itself and rushes 
through the bosom of the tree, as if it would tear out 
its very heart-secret; or, perhaps, maddened by the 
angry spirit of the thunder-bolt, it wrenches loose the 
weaker twigs, and lashes the honest old fruit-bearer till 
he groans. That tree is the soul of the musician ; the 
air in all its moods and its modulation is music. So 
does music search into every hidden nook and each 
innermost recess of the living soul and stir it. But ob¬ 
serve, those leaves are the lungs of the tree ; they catch 
from the air the life-giving oxygen ; they digest into 
nourishing substance the sap of the plant. So it is with 
our souls in the atmosphere of tones. They are the life- 
givers. They are freighted with God. In music and 
m Him we live and move and have our being. 


Males. -Agnesi 42, Babbini 62, Bartleman 52, Begn 
de, 56, Bellamy 75, Bennett 66 , Bernacchi 66 Betti 
42, Bonoldi 63, Brahms, 82, Brignoli 62, Cafarelli S 
Carestini 58, Crescentini 80, Dunne 49 , Farinelli 5 
Formes 74, Gardoni 61, Giuglini 39, Guadagni 72 Har 
son 55, Hobbs 78, Incledon 63, Kelly 64, Knyvett 7 
Lablache64 Leffler49, Mario 73, Maas 39 , Meredith 6 
Naldi ., 0 , Nournt 37, Parry 69, Pelligrini 52 Perki 
30, Phillips 75, Ronconi 67, Rubenilli 76, Rubini 5 
Segmn 43, Siboni 59, Staudigl 54, Tamberlik 69 Tai 
bunm 76, Templeton 84, Tichatschek 79 Velutti 8 
Weiss 47, Wilson 49, Winn 60 ; average life’, 62 vears 
Females.— Aguan 4Q, Banti 47, Barbieri, Nini fl 
Bates 66 , Begnis, de, 53, Billington 53, Bishop 74 Bot 

“• C ‘ M * C ™“- *«-. «. Catalan, 70 &u” 
C™. 70 Dana! 32, D„ P „ 2 «, Gabrieli! 66, i„i, H 
Gnsi 57, Haase 83, Hayes 36, Knyvett 86, Lange 7 

Lind 67, Linley 38, Malibran 28, Mara 84 Milder 5 
Mnraka 53. U„ ti , r DM „ 36 . y £j 

57, Palon Wood 62, Patti, C„ If,. P,„, „ owa , a ^ 
am oo, Pisaroni 79, Robinson 52, Rudersdorff f, 
Sainton-Dolby 64. Schoenberger 98, Schroeder-Devrie 
06 , Sontag 48, Stephens 91, Storace 51, Titjens 46 To 


ON PROGRAM PRINTING. 


BY W. F. GATES. 


A word might not be out of place concerning the “get 
np” of concert programs. Frequently good programs 

are given of which the printed representation fails of the 

desired effect, because of poorly chosen type, bad spell- 
ing, poor paper, the omission of necessary details as to 
place, hoar, etc., or the presence of extraneous advertis¬ 
ing matter. 

On the first page or at the head of the program, if 
there be but one page, should be stated in full the fol¬ 
lowing items : Name of city, hall, manager or auspices, 
day of the week and month, the hour and the year. 

It is very important that the concert-giver read the 
proof of his program, and see that the errors he marks 
are corrected. The printer is not acquainted with musi¬ 
cal terms and names, so if your program contains errors, 
blame only yourself. A concert program should be neat 
and tasty, and free from errors. 

Another matter in the printing of a program that gives 
a bad impression is the insertion of advertising matter 
of non-musical matters. 

Of course, this is not done by teachers of good taste or 
by teachers of any standing, but it might be well to 
warn young teachers that they can not afford to make a 
few dollars by selling space on their programs, as it has 
a look of cupidity and financial stress, and shows a lack 
of artistic spirit that adds nothing to their prestige. A 
musician of any standing can not afford to have his 
name appear on any such program. 

I have seen this matter carried to the extreme of in¬ 
serting advertisements between the musical numbers on 
the program. That teeth may be painlessly extracted 
is a very valuable piece of information, bnt one does not 
care to have it thrust under their eyes in connection with 
a Chopin nocturne. A baby carriage is said to be a 
necessary adjunct to a well-regulated family at times, but 
one does not need to have it brought to their attention 
in connection with a Beethoven sonata. 


UNPROFESSIONAL ADVERTISING. 


BY COBA D. BOHLAND. 


I would like to cal] the attention of The Etude and 
its readers to the manners and methods of advertising 
pursued by too many of onr teachers and soloists—the 
truly great as well as the truly little. Some people are to 
absorbed in a crusade against “ foreign domination in 
musical matters in America ” that they forget there are 
many home-grown evils flourishing in onr midst. Onr 
commercialized soil is very congenial to their gicwlb. 

Among these evils, I consider this one of advertise¬ 
ment one of the most menacing to onr art development. 
I would like to know how mnsicians generally rate their 
art. Is music teaching a trade or a profession ? If the 
latter, what code of ethics should rule it as to adver¬ 
tising ? 

I am in receipt daily of circulars from teachers and 
soloists containing advertising matter about them¬ 
selves that would debar them from practice did it come 
from members of other learned professions. 

In onr mnsic journals appear often cards of eminent 
teachers and artists containing data about thimselvfs 
and their methods that wonld brand them as quads 
were they M.D.’s instead of musicians. 

It seems to me it is high time that the State and 
national organizations among mnsicians take this matter 
in hand. Art is being exploited on every side in an 
unprofessional way. It is being vulgarized and commer¬ 
cialized in America. We will never make ourselves a 
musical nation by such means. We will never advance 
beyond a baroque or Zopf era. 

I wish some of the eminent teachers and soloists 
wonld express, in your columns, their ideas upon this 
subject: How far can a musician advertise himself and 
be consistent with the dignity of his art as a profession ? 

I myself think at the utmost nothing more than his 
card, stating his address and branch of work in mnsic, 
should be permissible. 


300 


dumb pianos. 

by WARD STEVENS. 


the giving Of testimonials to second-rate piano 
. “ t o the inventors of dumb pianos, and of books on 

Sod ” has become such a business as to be in- 
• - na to the conscientious student and to art. This 

£ is carried to such an extent that I often wonder 
w men of reputation, who apparently indorse every 
Jew thing that comes out, can have any respect for 
themselves; they certainly can’t have for the public. 
There is one thing pertaining to the study of music, 
viewed purely from the technical standpoint, that has 
received its share of indorsement from a few well known 
artists and from a large number of second-rate teachers 
whose word counts for little with the serious artist, and 
that is the “dumb piano.” After a few years of careful 
observation, I believe the practicing on a dumb piano, 
or silent keyboard, if yon like, to be not only a great 
waste of time, bnt a positive detriment to the pianist. 

Somebody has said Schumann was crazy when he 
said “Yon can not learn to speak from the dumb ; 
nevertheless, I believe he knew what he was talking 
about when he said that. I have never yet heard either 
man or woman play who has devoted much time to the 
practicing on a dumb keyboard, whose playing was in¬ 
teresting, and whose technic had not lost its elasticity, 
and touch become hard. 

Some time ago, when de Pachmann was playing his 
Chopin recitals in this country, a firm manufacturing 
dumb pianos got him interested in their inventions, and 
as I was with him much of the time, I got the brunt of 
his enthusiasm on this bit of technical apparatus. Never 
did a man possess a more beautiful and elastic touch 
than did de Pachmann, but it was not long after his use 
of this dumb keyboard that not only I, bnt many of his 
friends, noticed that there was a new and disagreeable 
element in his touch—hardness. It had lost its sensu¬ 
ousness and its elasticity. It is to he hoped that he 
has abandoned the use of the thing forever. 

To one of his pupils Mr. Joseffy said : “ Do not prac¬ 
tice any repertory work on a dumb piano, which shou 
only be used to save the head in the practicing of technics 
exercises. Yon will notice that Mr. Joseffy apparent y 
does not advise his pupils to use the dumb piano as a 
means of acquiring technic , but merely to save the hea( . 

Again, I believe the practicing on a dumb piano to be 
a strain on the nervous system. I mean, of course, to 
those who are emotional and who have mnsic in their 
blood. To such people the mere sound of the piano, no 
matter how uninteresting the exercise from a musica 
standpoint, is necessary company and the strain on t e 
nervous system not so great as it would be if the sonn 
was absent. 

There is a class of people who could well afford to 
waste their time practicing on a dumb piano. I refer to 
the tmmusical, unemotional, and cold-blooded performer. 
Neither do I expect these people to understand or in any 
way appreciate my remarks. They look at piano playing 
as they would a game of billiards. Should yon happen 
he in a place for a few days where you would not e 
allowed to use a piano, owing to sickness or a nature 
dislike in the house for the instrument, then the si en 
keyboard might be used to advantage, for a pianist mus 
keep his fingers moving, but I contend that the continue! 

use of it is positively injurious. . 

The quickest and only way to become a pianist is o 
study the piano, not a dumb keyboard. You must si 
before your piano for so many hours every day, an 
practice on IT, hear the effect you make (the sound o 
the piano can be heard just as easily and tells the 8 t° r J 
quite as accurately as the stupid noise of the key ar 
apparatus) acquire not only strength in your fingers, u 
elasticity. . 

Again, the dumb piano has no pedal, and the P*"® ’ 
apropos of repertory work, is very essential in a y 
practice ; this is one of the things in which I agree wi 
Leschetizky, the Vienna crank. I have heard n® 
piano cranks say that silent keyboard practice c ps 
memorizing and that students are not accurate enoug 
in +Vi A ;.. _:__j +v>Oi iinmb kcvhoin*d wi 


THE ETUDE 

though it was the piano’s fault. It’s neither the piano 
that speaks nor the dumb piano ; it’s the student. Is 
Joseffy’s playing accurate and is his memory good ? Is 
Rosenthal’s ? Is de Pachmann’s ? Is Sauer’s ? Is 
Hoffmann's (Josef) ? Is Paderewski’s’ Was Tansig’s? 
Was von Billow’s? 

It’s all a lot of rot—this causing a pupil to feel, nowa¬ 
days he must go through all kinds of contortions, a thou¬ 
sand and one different methods, and work at anything 
bnt the piano itself if he wants to become a pianist. 

I feel disgusted with many of my countrymen and 
those in the musical profession when I read all of the 
rubbish that is printed nowadays apropos of art and 
piano playing, and realize that the almighty dollar is 
responsible for so many dishonest and ignorant personal 
and public indorsements of many things that can only 
mislead the ambitious student and cause them so ranch 
regret in later years. 

The only equivalent I can think of for the benefit of 
those who advocate general practice on a dumb piano is 
the voice teacher who advises his pupil to practice tone 
production or the scale without making any sound—that 
is, just to formulate each tone and. instead of singing it, 
to blow out a little breath, and if the amount of breath 
makes a large enough impression on his looking-glass, or 
is emitted through the two front teeth instead of the two 
remaining on the right side, he will know that the tone 
has been accurately formed. A trace to all of this dumb 
nonsense ; let ns have serious art, a serious study of the 
piano, and serious men in the profession. 


about tuning. 

BY BOBEBT BBAINK. 

The teacher should make it a point that all his pupils 
have their pianos properly tuned at least twice, year 
(four times wonld be better where it can be afforded),.ml 
also to urge his pupils, or their parents or guardians, to 
provide an instrument with proper tone and action 
There is nothing in which families, and often musical 
families at that, are more remiss than keeping the pmno 
in tone or in having necessary repairs made. They 
will putit^ff week after week, and in 

to practice on. • t „ ke ' I claim that it 

th “! i—» - “ 

causes t ie g r< * J # g magician to practice week 
the mnsioal natn J which all the intervals 

after week on an ins ram^ ^ ^ trne of inton- 

are hopelessly f • nnder 900 h circumstances, 

ation be acquired y P piano BMt in 

Persistent practice on a bad J 

evitably vitiate the ^ v imt the resi- 

Tbe teacher should mjto .* ^ .„ or(ler 

deuce of each pupil a jnstrnme „t is in proper 

satisfy h.msM ha ^ ^ pnpil , come to his 

condition. The teac instruments 

,,.d»“ a ~ 
on which they do affairs the visits he ought 

l» piano, which 

covered, in my own I* wbjch have never been 

been tuned for fa " *** ’ d , ers pianos in snch a hor- 
tuned since they lef ^ impossible to toll by the 
rible state of tune the wrong or right note* in 

ear whether one broken , key. which won d 

a chord, pianos ^ ba]f the time, pianos with 

not strike, or which ^ ^ M action so 

pedals broken or out of J depr « the keys, 

weak that a strong 1 ^ boar - g practice completely 

or so heavy that h ff iMtrnmeB * in such order 


time. 


In ar »P>”“ l‘ i* 

straments. . ,. nd the importance of keeping 

People do not nnd rnUu lhe p ia00 „ the last 

instruments in <order an bmw if the teacher 


will look after it, however, and insist on proper toning 
and repairs being made it will have great influence. 

It is to the great interest of the teacher also to have 
the pupil’s piano in proper condition at all times, not 
only from the fact that a pupil will make much more 
rapid progress on a good instrument, but also from the 
fact that his playing will sound so much better that the 
teacher will get much more credit from those who hear 
the pupil play. 

After all, the teacher i» judged by the effect of the 
music which the pupil makes in the home, and which 
is listened to by his relatives, friends, and neighbors. 

If the music is good, the teacher is benefitted, and if bad, 
he is injured. People who know little about music 
judge of the effect as a whole; they know wlietber it 
pleases them or not. They do not know how to make 
allowances for a piano being horribly ont of tune, with 
two or three strings broken, the pedals oot of order, and 
the hammers worn through, causing the tone to sound 
like that produced by hammering on broke® bottlea with 
a clothes-pin. They know that the music does not 
please them, that something is wrong, and they blame 
the teacher in many instances. In one way they are 
right in blaming the teacher, for he should look alter hi* 
interests better than to allow his pupil to play on such an 
instrument. 

Of course, there are instances of pupils who are so poor 
that they are obliged to guard every penny closely in 
order to study muaic at all. In such case* such a pupil 
wonld be much lietterofl if he missed s few lessons and 
used the money so saved in keeping his piano in tun* 

Now a word as to pitch. The pitch now practically 
of universal adoption in the musical world U known as 
“international pitch,” or “low pitch,” a. opposed to 
“high pitch,” popularly known aa “ concert pitch. 

»International pitch ’’ ia the pitch decided on by a con¬ 
gress of musician, of all nation, which met in Europe 

Z a. nw *• S*7— ns «■' 

,r*i.L.Hr m.-l. —J th ">"* h “* 7 II 

until now it is in practically univereal nse by the great¬ 
est orchestra", mn.iral societiea. mid instrument mnnn- 
facturers of the world. All tb. American piano 
manufacturer* now send almost all then 
out at “international pitch,” and if one l« w»»te<l at 
“high pitch,”it must be especially tuned. The newer 

pitch,’’ ami someof the older organ-- th “ ■ J* 

Cincinnati Music Hall, one of tb. large* organ* • * 
world, have been adapted to “international pitch. In 
the case of the Cincinnati organ the change many 
thousands of dollars and was made in order that the 
organ could be us*l in the Cincinnati festi vals with the 
Theodore Thomas Orchestra which used low pit* h. 

international pitch ” l» in practically universal nee 
i0 the metropolitan citira of this 

the hands and orchestras in our smaller cities Ml pm 
Jelly all of the older pipe organ, throughout the 

-rsrsi'atc-i* i. - —t >• 

i. Of great importance that the piano student sbouM hsve 
i M thU nitrh no ** tn cultivate bin 

~ • - 

international pitch win, i. p f ^ fhos a 

.*-.«***•*-**■ 

aiisiSsass—*•«-«— 

to* a. r- — — 










































310 


same pitch is badly neglected in the case of pianos in our 
homes and drawing-rooms, and it is rare except in the 
case of the pianos of musicians and advanced musical 
students to hear any two tuned to the same pitch. 

If the piano is always kept at the same pitch it will 
keep in tune much longer also than if frequently 
changed. Another thing which should be avoided is 
changing a piano from low to high pitch (about half a 
tone) where it is necessary to have it at high pitch in 
order to accommodate performers of wind instruments, 
who have high pitch instruments and who are to play 
with the piano. If it is necessary to use high pitch for 
a special occasion it would be found much better and 
cheaper to obtain a high pitch piano from the music 
dealers than to have a low pitch piano elevated half a 
tone, as it would require three or four successive tunings 
to get the instrument to stand in proper tune after so 
violent a change. 

As to pianos, the teacher should urge his pupils to get 
as good instruments as possible. The action is of great 
importance. The advance of many a promising pupil 
has been almost hopelessly handicapped by having a 
piano with an action which is too light or too heavy. 
In the case of either extremes it is practically impossible 
for the pupil to work up a really good technic. How is 
it possible for the pupil to develop the requisite firmness 
in his fingers, if he plays on an old pre-Adamite piano 
with keys that a breath will depress, or to develop 
lightness, pearling scales and velvety pianissimos if he 
is tortured with a clumsy, badly made piano, with keys 
which will hardly respond to blows from a tack-hammer ? 

In these days of cheap pianos, there is no necessity for 
the student playing on an old out-of-date rubbishy 
piano. He had better try and save money some other 
way and get a really good instrument. The time has 
gone by in the United States when only two or three 
piano manufacturers could make good pianos. Piano 
making has become like bicycle making. We now have 
hundreds of fairly good makes of pianos. 

In conclusion, I can but reiterate my belief that if 
teachers would give more attention to the instruments of 
their pupils they would get vastly better results. 


THE ETUDE 

is not excited nor reflection induced. The Leschetizky 
method of memorizing demands the most thorough 
attention and concentration, and can not fail to do for the 
mental faculties what the Czerny etudes do for the 
fingers. 

-- # - - - 

A LITTLE KNOWLEDGE. 

W. J. BALTZEI.L. 

“ I studied the piano some myself when I was a girl, 
and I think I know something about music.” Such was 
the remark a mother made to a teacher. Her attitude 
was a mistaken one. The teacher wanted her support 
and interest in order to secure better work from the 
daughter. The mother, instead of joining hands with 
the teacher, wanted to dictate the course of instruction, 
and to prescribe certain pieces. Naturally the teacher 
resented such interference, and a clash ensued with ill 
results to the pupil. 

A little knowledge is a dangerous thing sometimes, 
and this is particularly true when parents interfere with 
the teacher’s prerogatives. Much better is it to find 
out in what way the teacher can be helped than to 
make a pretext of study, grown gray and old and rusty 
from disuse, to interfere with a child’s teacher and his 
rights. 


THE FIRST STEP IN THE INSTRUCTION OF 
YOUNG CHILDREN. 


HOW LESCHETIZKY TEACHES MEMORIZING. 


BY C. N. SMITH. 


The various points of the Leschetizky system'of 
piano playing have often been dwelt upon. Many of 
them—the loose wrist, for instance, the raised knuckles, 
the oblique position of the hands in playing scales to 
allow the shorter fingers all the power possible—have 
long been taught in this country. His admirable system 
of memorizing, however, has not been widely known. 
It must be remembered that Leschetizky’s pupils are in 
no sense ordinary piano students : they are all there to fit 
themselves for a career. The most important qualifica¬ 
tion for a successful artist is a good and well-stored 
memory. Technic is a mere matter of patience and 
perseverance, but a man’s memory is his very self. 
Leschetizky and his under-teachers strive to make that 
a thoroughly musical self. To this end not only is 
every piece of music learned by heart, it is mastered, 
made a part of the student’s consciousness. The work 
begins with the first reading. The harmonies are 
analyzed, every true chord noted, and passing notes 
placed. In cases where the composition is polyphonic 
the voices are followed out. Then the music is learned 
measure by measnre, by number. Then each phrase is 
put together, the last bar played, then the last two, then 
the last three, until each phrase has been built up. 
The pupil is expected to be able to play any measure by 
number. It is only when a composition has been so 
learned that he is considered capable of translating the 
sentiment and thought the author has intended to 
express. The advantages of this method of memorizing 
are twofold : not only does the student master his 
music, he also gives his mental faculties a training 
which can not but quicken his powers of apprehension. 
The music student is peculiarly hampered, as far as 
mental training goes, by the long hours of tiresome prac¬ 
ticing of necessary technic, during which imagination 


A very long experience in piano-teaching has led the 
writer to the certainty that the first steps in successful 
musical education should be taken at home, when five 
or six years of age. The beginning should be made 
with the intervals of the scale, which should be learned 
one at a time, so as to be recognized and reproduced 
vocally at will. 

The first interval to give should be the fifth, do-sol; 
and as it is best to lead the little singer in silence, the 
usual hand signs-do, the closed fist, and sol, the open 
extended hand—are most convenient for the purpose. 

The pair of notes taken in all the scales indifferently 
can be taught in one lesson. The next interval to under¬ 
take is mi, the third of the scale. The hand sign for 
this is the hand held out horizontally, back up. It will 
require, perhaps, two lessons to clear up the tonal rela¬ 
tionship of do, mi, and sol, so as to sound them, and 
recognize them when sounded. This is much assisted 
by showing the little pupil the peculiar emotional 
quality of each of these elements of the scale. Do 
is the tone in equilibrium, the strong tone; mi is 
the calm, neutral, colorless tone; sol is the energetic 
moving tone ; sol is masculine, do is feminine ; sol is 
verbal, do objective; mi is ineffective. In her first 
attempts the little pupil will always rise past mi to sol 
or descend past it to do, and the explanation of the 
meekness of mi is a help to her in remembering it 
She ultimately succeeds in doing so as a matter of per¬ 
ception of her physical sensations helped by mental 
association with the tone characteristics and with the 
hand signs. When these three intervals are learned 
extend the range to high do (hold the fist high to identify 
it) high mi (the horizontal band raised), and low sol 
(the open hand lowered). Make the child identify the 
notes when you sing them and when you strike them on 
the piano. Finally, let her drum them out on the 
piano with one finger-c, e, g, or g, b, d, or f, a, c. This 
will occupy fully a month, but the reward is immeasnr- 


TO R PIANO, 

What harmonies unplayed 
My soul longs to express! 

Yet, hampered by my technic, 

I dare not e’en digress 
For a moment from the study 

Of my arpeggios and my trill_ 

Then the’re turns and runs and double thirds 
That flirt with me until 
I know I am a captive. 

And thou, elusive maid, 

Hast so dazzled and bewitched me 
That now I am afraid, 

After all of my devotion 
To thy ivory-tinted face, 

My fingers still will falter, 

My tones still lack in grace, 

And thou wilt then renounce me— 

Ah, siren ! without heart— 

My music yet unspoken. 

Then thou and I will part, 

Until perhaps in eternity 

It may be I can trace 

Just a smile upon thy countenance, 

Just a look upon thy face, 

That shall tell me I have won thee, 

That my music can now be heard, 

With the better and added sweetness 
Of hope long, long deferred. 

_ _ Mabel 8. Himoe, 


Compositions usually partake of some special charac¬ 
ter, melodic, polyphonic, harmonic, rhythmic, etc., or a 
combination of several elements may be present. A 
different style of technic is demanded for each of these 
different styles of composition, and the teacher’s duty is 
to see that his pnpils learn to recognize the differences 
and how to meet the varying demands. 

it i8 D0 ‘ Wdl f ° r pupils t0 be avowed to 
devote the major portion of their time to one style of 

playing m which they may incline to excel, but need 
mly rault. * " * betterronnded nmsicianship 


MECHANICAL MUSIC. 

The advent of all the various kinds of automatic 
organs and pianos with which we are now being flooded 
has aroused the feelings of many who have long been 
satisfied with the old systems of playing with the hands 
and feet. A writer in the “Boston Journal” thus 
gives expression to his sentiments on the subject: 

“ It is well known that ancient congregations of rigid 
views objected to the use of the organ in church worship. 
Architects, as Christopher Wren, disliked to arrange 
their plans for the benefit of ‘a box of whistles.’ The 
conservative saw in the grand instrument a device of the 
evil one. But the organ triumphed over fiddle, clarinet 
and double-bass, and choirs either resigned, as in 
Hardy’8 ‘Under the Greenwood Tree,’ or accommo¬ 
dated themselves to the new conditions. 

1 The introduction of an electric organ may well pro¬ 
voke discussion. Snch a machine will do away with the 
organist, and may be a money saving investment, bnt, 
on the other hand, there is the total depravity of inani¬ 
mate things. There must always be a feeling of uncer¬ 
tainty as to what will come out from this organ, after 
the announcement of the hymn. It is possible, for in¬ 
stance, that the cylinders were mixed in the factory, and 
secular tunes thus alternate with profane ditties. 
Imagine the feelings of a congregation hearing 1 Papa 
Won’t Buy Me a Bow wow,’ when the hymn is ‘Blest 
be the Tie.’ Or let it be taken for granted that the 
machine is sober-minded and in sympathy with the 
denomination of the church, yet a cog may slip and the 
tune play sevens when long-meter is required. There 
mnst always be momentary hesitation, and the relief of 
certainty ill atones for the anxiety of the moment. 

“ If such instruments come into common use the occu¬ 
pation of the organist will follow that of Othello. The 
years of preparation, the brilliant fancy, the sweet spirit 
of the individual will all be as naught. Organ concerts 
are now out of date, pupils will turn their attention to 
other instruments, and what, pray, will he the future 
of the organist? There will be another trinmpb of 
machinery, and the idea of diversified labor will not be 
a Gileadian balm to him that is without occupation. 
There is no time to lose. Organists should band them¬ 
selves together, offer resolutions, petition the authorities, 
for, if these machines once win popular favor, organ¬ 
playing will be a lost art. 

“ Think of the evils that will follow. The electric 
piano will drive Paderewski from the stage ; the orches¬ 
trion will take the place of the orchestra, and Panr will 
hasten hack to Leipzig. There will be a new world of 
music in which the circus calliope will have an honorable 
position, and the phonograph will sing heroic or tender 

operatic rSIes.” 

Judging from the advertisements of manufacturers 
and dealers, there must he a steady demand for auto 
matic instruments of the better type, such aBself-play ID 2 
pianos, the JEolian, and orchestrions. 


311 




ToB. P- M.—You say that you have by natural endow¬ 
ment the knack of playing readily at sight, and that by 
this gift you are able to earn the money which pays 
your piano tuition, as an employee of a music-store ; yet 
'vour teacher, an artist of a high rank, constantly calls 
you down for dropped notes and yarious slips, and you 
wish to know if your readiness at reading music and 
your daily occupation has anything to do with it. 

Yes lam decidedly of the opinion that in the coveted 
talent’for reading at sight there lurks a snare. Your 
question touches a secret door in the wall, which, open- 
i e ts us out into a large subject. Among musicians 
there are two types of mind-the one clear, methodical, 
slow, tortoise like; the other, vague, slipshod, nimble, 
hare-like. These qualities are not to be applied too 
closely to the great composers, though we might find 
wide diversities of speed in their work ; but the case of 
students and performers will he found to illustrate the 
qualities here enumerated with no small degree of appos¬ 
iteness. The two types, frequently in their extremes, 
and always in their gradations of modification, are known 
to every teacher. Here stands pupil A ; he lias sound 
bodily health, good-sized frame, big, round muscles, and 
a cool temperament, yet he possesses a genuine love for 
music, and a deep, penetrating mind, which goes like an 
auger gradually, evenly, steadily, resistlessly down, 
down through the very marrow and meaning of the art; at 
any rate so faras it relates to mathematics and mechanics. 

It will not do to despise him, for he is a man akin to 
Bach and Brahms. Emotion is in him a latent heat. 

Such a student is capable of those terrific extremes of 
practice, of which we all read, and which, at least once 
in our lives, we all try to emulate. As typical represen 
tatives among great executants I will name Barth and 
Rosenthal. At the other extreme stands a young 
American girl. She is slight and tall, ot a decided 
blond type, her voice is away up the gamuiut, and either 
fluty or pinched, and she always talks at or about 200 
words to the minute, and is forever in a gale, as we say, 
and the very first sunbeam of a dawning emotion sets 
her into an ecstatic quiver. Her mind, like her body, is 
ethereal and agile. She thinks like a fringe of heat 
lightning around the verge of the summer evening sky. 
She can not endure great continuities ot woik, jet s le 
can dart like a kingfisher upon the idea which she wishes 
to seize, and with unerring aim can grasp the essentia 
thing. Between these two contrasted figures, which 
have purposely made extremes,—there are many, many 
various degrees aud combinations of talent. Readiness 
of reading arises from a certain alertness of mento 
action, and is entirely constitutional. Among the gieat 
artists, Liszt and Mendelssohn were famous sight-readers, 
although it is recorded of Mendelssohn’splaj’ing, e'en by 
one of his adoring admirers, that he caught only t ie 
main outlines of the composition. The stories told o 
Tansig and Paderewski, if only halt true, certain J 
show that there is use in patience and detail-laho'. n 
my own acquaintance with artists of various magnitui es. 

1 have often observed a wide diversity. Two of t 
very best musicians whom I have known were couspicu 
ous for their stumbling and well-nigh intolerable rea 
ing ; and, on the other hand, I am well acquainted wi 
two others, one of whom played the largest ainoun o 
music in public that I ever knew or heard of, " 1 e 
the other is a most excellent, all-round musician, 
rapidly rising into fame as a composer. Each o t 
gifted men, in strict truth, play the piano wretc -Jr 
that is, if we mean by piano playing a clear, exqui i 
and sensitively’ refined realization ot the compose^ 
dream-image. In absolute strictness of judgment, ^ 
should demand of those who play music to us tliat^ ^ 
cause in our ears a physical phenomenon so pure ‘ 
charming that we shall not need to piece out t e ^ 
with our own imagination, bnt shall be ra\ ish 


THE ETUDE 

own. The inability to catch at a glance the main out¬ 
line of a musical idea precludes the minute realization 
of each particular beauty, just as the glance of the eye 
from a window upon a flying railway-car can not hike 
in the minutiae of the landscape. Sight-reading has its 
place in the economy of musical functions, and is greatly 
to be prized for its uses, hut it is rather a useful than a 
beautiful thing, and unless it he offset with corrective 
study, it engenders bad musical diseases. The mental 
habit of snatching without reflection the bulk of the 
concept hidden among the notes, like a hippopotamus 
among the reeds and shallows of the Nile, produces a 
mental callousness to flaws bad, bad, bad in the extreme. 
This lack of sensitiveness, this hearing with the ear ol 
the mind rather than the body, relates, first, to notes 
dropped ; second, to notes false-read, whereby erroneous 
harmony is created ; third, to notes drowned in a swirl 
of meaningless pedal; and, fourth, to notes phrased 
according to, certainly not Hoyle—or any other regulator 
of things—but according to the Lord of Misrule. 

Finish is one of the most enduring charms of all art, 
and certainly not the least of music. Whether you are 
to make much or little of your talent for reading at 
sight depends upon what you wish to do. If you desire 
to be a wide scholar in music of all kinds, or to shine 
especially in the inner circle of chamber musicians, and 
in the esteem of the profession, yon will do well to keep 
up your reading and improve it to the highest possible 
point ; hut this ready reading, which is a thtfuA ”«’> 
for the orchestra player, is of comparatively little import 
to the pianist, unless, perhaps, he is a musician first aud 
a pianist second. But if yon wish to play with accep¬ 
tability and distinction in the concert ha , you nius 
counteract the bias of your sight-reading with large 
amounts of patient, minute, technical study i and, 
more particularly, you should build up a small hut ve J 
choice repertory of compositions which arc extreme v 
dear to yon that the warmth of an intimate love may lie 

i. neoM * 

sight, l« h< • .I.,., of * 

, which >l«« ■»•»« • 

*»—-r i. i» 

.u, — 

eternally, and played passionately. 


Tn T 7 -So yon arc twenty-one years old ; are placed 
con 


in unmusical Ium °T ,c , ’ , tjme for practice ; and 

—isequently com man j* , must study it. 

yet love music so well JJW , y or „ 

Well, your case »*not^ ^ ^ ^ ^ of all , 
utterly hopeless a. y ltm „«nhere must lie touched. 

yes ; in many cities pre of real artJove ; 

panding Republic there iveor *> intent as you 

but it is, a'* 9 ’ not 1” rc J" tlv my reading a remark 
fondly imagine. 1 .\mcricanby birth, lives by 

0 f a Mr. n*'**£ZZ*£t that in America the mn.i- 
choice in Europe, to Yoa see. he. living in 

cal atmosphere,« 0 <ng «" tbc 
Berlin, where there ^^(*1 like aasaaain 

time, and where t ic P ^ ^ the claw(c symphonic* are 
ating auv new pian , pler . g „rten, mnst have a very 
the commonplaces o g nvd „x atmosphere 

different notion as o nr Cincinnati or even 

from that Bach the great apostle of modern 

art, lived in an ^here ^ ^ ^ 0Te r 

excessively unmneical, ^ mn sicnl Germany, al 
his complex music,. .. ras sion according to 8t. 

lowed bis great^ wor ^ just of the library 

Matthew,” to slumhcr^le ^ ifti ^ Hear,,* 

3 whole century before g and a great 

Absence of a nmsica art istic death. At worst, 

lack, bnt it need not in o malaria there 

- tbn8iwm for * 

is a specific, a good q«„ wish to bring every 
dominating «thm ^ ^^pathy there Is often¬ 


times when and where w e think it least, and the thing for 
you to do is to tune your own soul up to the very highest 
concert-pitch of art-enthusiasm, and seek persistently 
and eagerly, at all times and in all places, to win others 
to some degree of yonr love. The very fact that they see 
you love good music so much, and you say certain things 
are good, will have an effect, and a much stronger effect 
than you think. 

From Bach on bis patriarchal throne as composer to 
Liszt ramming the Beethoven sonatas down the on will¬ 
ing throats of European audiences, and so creating the 
Beethoven fame in the piano playing world, and from 
that eminence passing down to the depths, the relation 
of the real, live musician toward the doll, inert lump of 
uninitiated humanity, is the same. I once heard that 
glorious virtuoso-pianist, Ix*opold Godowski, play helore 
an association of Illinois music-toachcrs, not the set of 
the “Kreisleriana,” by Schumann, as announced, hut 
the B-minor sonata of Liszt He delivered it with 
electric effect, and dazzled every one. Afterward, how¬ 
ever, I asked him why he did not do the “ Kreisleriana, 
and he answered that it is too intimate music for such a 
public, meaning thereby that there was too much deep, 
subtle feeling in it for a mixed assembly, of many 
degrees of culture, such ns he saw before him. Now, you 
must imitate all these great examples. Study the very 
test for yourself, and work persistently as a propagandist 
to inculcate yonr feeling inti, the receptive minds which 
you may find ; then have a repertory of lighter ptoce*, 
not too trashy, whieh you may use to entertain your 
friends when they are not willing to take n.nstr seri¬ 
ously, but want it for an agreeable pastime There is 
an extensive literature of pleasing, not trashy, yet not 
deep, music to be drawn upon. As instance* I will cite 
‘ The Whispering Winds,” by Wallen),aupt, and The 

Ijast Smile," by the same writer ; " The Rustic 1 an<», 
l,y William Mason ; " The Spinning-Vi heel, by Ltttolf , 

“ The Song of the Shepherd,” by Golaa. and the oompo- 
sitionsof Gottachalk. These, smoothly delivered are sure 
to please, and yet you need not blind, with the last notes 
and hang your abashed head and get ready to dopeoonce 

before the Muses. . , 

You must not expert your friend, whosr Urto* are > <• 
cn.de in music to take kindly to cradle-songs and 
dreamy, involved piece* This usually presuppose, a 
degree^ of advancement in taste. No. give then, some- 
thing with a good, string, interesting rhythm. How 
e lr vou must nut go - 99 

*,ul. The bleeding, ton, body of an abuarf ih.pwdyn.ay 
do well ns provender upon which to tu-rge <• » 
of vanity, but music abbot, bloody fragment*. 

As for your not able to gain high *J«d. that 

J he a matter of wimc labor and of much j-uen^ » 
I now twenty-one year. old. There i. hope, bow- 
^ver* Your discouragement is due. probably to the fact 
that you esa.iv to play music which is mad. of 

. li.u „„t vet mastered by y«u. T«l« Is always a 
Tare Tbc attempt to develop technic and music s, 

* «!. ,e i. certain to result in complete «vjnftision 

.. ’Z 

“f ilk a.* “ •“ “* "• 

divine accents have lost Ibdr apirit-me^ 

.. ,i. chord form* w to*} ^ 

i z r . 

regularly until you «c ^ren. eight. ..ml at last, 

then mthw*'.^enough for .11 
« pot-nMo, . Tom) , and Technic” i. 

1 " 1 ' f dm!riblTaystem of keyboard gymnasia*, and can 
“"tltito help you; but it* more recondite ideas ran 

ZrMj ho thoroughly 

. ■-*«* 

jay „f wider influence will not fail von. 


F R —Th* little matter of musical 9 P* ,hn ' J 

v B vou peak of a. puzzling is one of th«- thing, 
which yon "P®** r mriuBtrt vou. the sufferer, 

which arouse my wrath, n *■ • 0or 

bnt against the whole ayrtem^™ v{l b ^leciams 

s*i2SEir- *■*« ** 













































312 


burdocks. The subject is too largo for me to enter into 
it now; and certainly if there is need of any kind of 
musical congress, it is one to settle this vexed question. 
The way the measure you cite is printed is simply wrong, 
and it is a shame that you and your teacher should have 
to waste valuable time in correcting the stupidities of a 
mechanic the note sticker, as they call him in German. 

To C. It. F. You ask what use I make of the music 
of Mozart in teaching the piano ; you say that one Ger¬ 
man professor of advanced years in your city sticks to 
Haydn and Mozart, rather shaking his head at the new 
things of Tschaikowsky, Grieg, Sgambati, MacDowell, 
and the rest, while the latest arrived exponent of the new 
pianism ridicules those antiquated composers, Haydn 
and .Mozart, as altogether out of date and useless. 

The question which you spring upon me is a very sig¬ 
nificant one, and is, perhaps, especially timely just now 
in view of the wave of Mozart revival in Europe. As 
for my position, it is a sane one, or at least I think it 
so, or else I would not occnpy it. Like that amiable 
character in the “Mikado” who thought that “lam right, 
and you are right, and all are right,” I am inclined to 
agree with both factions. The middle ground is the 
safest here, as in many other concerns of life. The other 
day I chanced to be present in the office of W. S. B. 
Mathews in Chicago, while a young pianist named Gunn 
a pupil of Teichmueller, was playing. After some 
bright talk, Mr. Mathews said, “ We do n’t do business 
on the Mozart sonatas.” This was characteristic of the 
eminent educator, who, as is well known, is as ardent a 
partizau of Robert Schumann as is Perry or Finck of 
Frederic Chopin. Now, thi3 remark set me thinking, 
and it struck me that the very best piano culture is not 
prejudiced by any partizanship whatsoever. We must 
study the instrument in all its aspects and should build 
ourselves out of blocks and precious fragments from 
every quarry. It will notdo to rule out the lesser masters 
because we recognize the very great ones. Because you 
perceive the wonderful value of the fugues and dances 
of J. S. Bach, it by no means follows that you are ex¬ 
cusable for being called callous to the charming sonatas 
and concertos of Mozart. 

1 am decidedly of the opinion that there is a place for 
the piano music of the marvelous Mozart, not so large, 
by any means, as that of J. S. Bach, but not one whit 
less unique or essential to the roundness and finish of 
art. 

I think that the dictum of Anton Rubinstein upon 
Mozart,—viz , that he, Rubinstein, did not think Mozart 
a composer of the first rank, was unfortunate, for the 
views of a man great in one or two directions often carry 
an undue weight in other regions. It is a conspicuous 
fact that composers have often been but indifferent crit¬ 
ics. Then, again, to employ an excellent Americanism, 
this confession of Rubinstein was a give away upon him 
self. The great pianist would have been far greater as 
a composer had he but possessed a tithe of the crys¬ 
tal-clear sense of musical structure and pure nnmixed 
beauty which was in Mozart. As the Scotch critic 
Jeffrey said, that he wonld test the real poetic nature 
of any reader by his ability to relish the poetry of 
Keats, so I will say that I think the genuine native 
musical nature of any one may be tested by the amount 
of susceptibility which he may possess toward the naive, 
enchanting compositions of Mozart. 

Yes, of conrse, these little innocent ambling figures of 
single eighth notes upon the tonic triad and the domi¬ 
nant seventh in dilations of the hand which do not ex¬ 
tend beyond the fifth or the sixth, are not much along¬ 
side of the webbed harmonies of Chopin, which include 
two octaves as a usual thing in their survey, hut they 
are also musical ; they are also necessary. 

Then, just think of the wondrous melodies ofMozart,— 
who could extract from the common primary chords 
what he did? To test real love of music it is necessary 
to ascertain whether tune, harmony, and rhythm can 
charm one without passion or symbolic added meanings. 

It is curious that the greatest pianists in their matur¬ 
ity turn to Mozart. Back, back again to the sweet de¬ 
lights of innocent childhood ; back to the pure, tender 
arch compositions of Mozart, the most spontaneous of 
all the mighty brotherhood of composers. This was what 


THE ETUDE 

von Billow did in his last days, and I myself heard him 
give some exquisite displays of skill, by way of Mozart 
interpretation, at the Odeon in Cincinnati, when he last 
visited our country. And, moreover, Rubinstein him¬ 
self, in the full glory of his matchless art, played Mozart, 
and in the season of 1872-1873 I heard him do the lovely 
rondo in A-minor as I have never heard it since, and 
never expect to hear it again in this world. There was 
a round, yet pure, warm, yet tender, lively, yet gentle, 
firm, yet sweet, quality in the playing which absolutely 
realized and embodied the music, and with that memory 
in my mind, I read, not without a shock of surprise, those 
disparaging words which occur in his autobiography. 
One of the most delightful and most enduring of my 
musical memories, reaching now backward over a quarter 
of a century, is this wonderful delivery of that Mozart 
rondo by Anton Rubinstein. Such works as the rondo 
in A-minor, the sonata in A-major, with the Turkish 
march, the grand fantasie and sonata in C-minor, should 
be familiar to all educated pianists and can never be 
dropped from the curriculum of any student without 
loss. Neither are they (these Mozart pieces) always so 
trivially easy. There is among the seven short move¬ 
ments of which the fantasie in C-minor consists one 
brisk allegro, made of thirty-second notes in figuration 
which will, if done up to time, with absolute articula¬ 
tion and with refined nuances, tax the abilities of a vir¬ 
tuoso. No, by no means cast away Mozart. You need 
not, in the vast array of composers crowding upon vour 
attention, at least a hundred, perhaps more, give him a 
very large place; not so large as J. S. Bach, Beethoven, 
Chopin, Schumann, or perhaps Liszt. But a place of the 
most genuine and indestructible character is that of 
Mozart, the naive, the charming, the inimitable. 


HONESTY IN ADVERTISING. 

BY HENRY L. I.AHKE. 


lo every young teacher endeavoring to establish him¬ 
self in his profession the question of how to advertise 
will doubtless appear to be a difficult one to solve. To 
advertise in such a manner as to keep within the bounds 
of good taste, to attract the public and tell the truth all 
at once will puzzle the brains of many an inexperienced 
person. 

It is very much easier to advise in a negative man¬ 
ner and say what should not be done, than it is to offer 
a plan, because originality is one of the prime factors in 
successful advertising. 

The day has gone by when to advertise a hundred and 
fifty hours of musical instruction for $15 will draw pu¬ 
pils. This is an age of “methods.” Each teacher seeks 
to surpass his rival in advertising some special method, 
which, at first sight, discredits all that has ever been 
done before While there is no doubt much to be said 
in favor of method and no teacher is likely to suc¬ 
ceed who is unmethodical, yet the advertisements used 
by many are of such a flimsy nature that they would 
hardly carry conviction even to the mind of a French 
general. 

We are also sometimes staggered if we watch the meth¬ 
ods used for advertising the great stars who each season 
tour the country, at the rapidity with which their great 
reputation is overshadowed. It is not long since Sde- 
rewski was supposed to reign supreme at the pianoforte 
keyboard but a year or two later came Rosenthal who 
could exert several hundred pounds more pressure per 
hour than Paderewski. Then came Sauer, “the great 
est pianrnt of Europe.” We are placed in the posUion 
of the very susceptible young man in the play who was 
in love with three different ladies, but excused him! 
selfon the ground that heonly thought of them one at a 

But the methods of advertising the great star 
only an indirect bearing on the subject Th» 6 

illustrate that cheery optimism which makes usVe'lTeve 
perhaps w , thoat adequate reason, that the present is 
better than the past, and, as this feeling is entirel!!? 
site to the general trend of human nature for w/ P1> n 
too apt to look on the black sideof thin., these meth d 
should be helpful to us in our daily life ’ theSe method8 

Each generation has its idols. The big boys at school 


when we graduated were not to be compared in size 
deeds of valor with those who were there when we* ** 
tered. The climax of operatic excellence to our grand 
fathers was reached by Grisi and Mario. The fath 
and mothers of to-day look back with a sigh at Patfl 8 
For a few years past the names of de Reszke and Melba 
have marked an epoch, but, according to the advertising 
agent, the operatic singer to come next is the greatest ? 

Some months ago a Western teacher circulated a state¬ 
ment in the newspapers which was an example either of 
pathetic ignorance or of abominable dishonesty. Let ns 
assume that is was the former. 

“I have heretofore announced,” the article reads 
that I could take a pupil from the beginning and make 
a concert player of him in one year. I wish now to 
prove that it can be accomplished in six months.” The 
advertiser stipulates for good health and a willingness 
to work on the part of the pupil, and limits the age to 
forty years, ‘ ‘ because any thing beyond that it would take 

something longer to acquire the result.” . . “j n 

return for a devotion of four hours daily I promise to 
make of the pupil a splendid performer, whose every 
tone will be a delight to the ear, and insure the execution 
of the most difficult compositions with precision and ve¬ 
locity. It is not necessary that the pupil have talent. 
The method furnishes both talent and soul, for I deny 
that any one can hear the fingers do such melodious exe¬ 
cution and not feel a spark of inspiration—if the pupil 
have sufficient taste for music to practice at all.” 

It is generally conceded that a pupil with talent can, 
by dint of hard and unremitting work for several years, 
play pieces of tolerable difficulty and with reasonable 
velocity, but when it comes to mastering the most 
difficult compositions in six months from the begin- 
BiBg, what is to become of the musical profession? 

Let us examine the advertisement still further. There 
is a saving, or rather a contradictory clause contained 
in it. “All of my pupils thus far have been busy 
housewives or in attendance at school, with one excep¬ 
tion, and that one exception practiced three hours a 
day and at the end of two months was playing the 
1 Grand Finale ’ in Richardson's method.” Thus the 
“ Grand Finale ” in Richardson’s method is considered 
to be one-third of the way to the most difficult composi¬ 
tions an estimate which will hardly coincide with the 
opinion of the best-informed and most experienced 
teachers, and which at once punctures the inflated idea 
offered to the unwary pupil. 

Perhaps the crowning feature of the article is the last 
sentence, which says: “ The method of the master opens 
a window into the heart and life that might have per¬ 
haps otherwise forever remained closed.” 

It is pitiable indeed to see divine aid in teaching im¬ 
plied as a method of catching unwary or ignorant pupils. 
Such a claim can only be considered the climax of dis¬ 
honesty. Without it the advertisement would stand as 
a monument of ignorance. With it, the whole affair as¬ 
sumes the color of impious fraud. 

If music pupils can be gained by such advertising as 
this, there remains but little hope for the ordinary, 
honest, hard-working teacher. But, fortunately, tbe 
pupils who are secured by this and similar methods 
either amount to nothing and give up their studies, or 
they discover their error and seek out some instructor who 
does not pretend to teach by any supernatural system. 

It is well for the young music teacher to keep well 
within the bounds of honesty in making his claim for 
patronage. Some allowance must always be made for 
the community in which he lives, and where the aver¬ 
age of education and musical knowledge is low, judicious 
extravagance may be legitimately used, but not in such 
a manner as to leave behind all claim to reason and 
truth. 


Music is the most modern of all arts ; it commenced 
as the simple exponent of joy and sorrow (major and 
minor). The ill-educated man can scarcely believe that 
it possesses the power of expressing particular passions, 
and therefore it is difficult for him to comprehend the 
more individual masters, such as Beethoven and Scbn- 
bert. We have learned to express the finer shades ot 
feeling by penetrating more deeply into the mysteries 
of harmony. —Robert Schumann. 


313 



They say that Mdme. the Baroness Patti-Cederstroem 
will give two concerts in the course of the winter, at 
$6000 each. 

MB. Edouard Colonne will have charge of the de¬ 
livery of Berlioz’s “ Le Prise de Troie,” which will he 
reproduced at the Lirico, Milan, this winter. 

Siegfried Wagner’s “ Baerenliaeuter ” will be re¬ 
produced at the Opera Royal, at Munich. 

The approaching celebration of the centenary of the 
death of Cimarosa, by Aversa, his native city, will be 
worthy of the master whose glory it will recall. The Con¬ 
servatory of Naples, of which Cimarosa was a pupil, will 
take an active part. Yerdi and Signor Guido Baccelli, 
Minister of Public Instruction, are honorary presidents. 
The acting president is Signor Rosano, of the College 
of Aversa, and Signor Pietro Platania, director of the 
Conservatory of Naples, vice-president. Aversa, which 
has placed $5000 at the disposal of the committee, has 
decided to raise a monument to the author of Matri- 
monio Segreto,” in a public square. The sketch has 
been prepared by Signor Francesco Jerace, the sculptor, 
to whom we owe the monument erected at Bergamo last 
year in memory of Donizetti. 

It seems that during the Paris Exposition there will 
be an exploitation of the chefs-d'oeuvre of religious 
music, whether signed by Mozart or Handel, by Haydn 
or Wagner, by Gounod or Massenet. It is proposed to 
give renditions of the master-works of sacred music in the 
Church of Saint Eustache, after the example of those 
which took place in the Cathedral at Dresden, and in the 
Church of the Holy Apostles at Rome. The archbishop 
has given his approval, and 300 singers, besides an or¬ 
chestra, will be engaged. 

On the occasion of the fiftieth anniversary of the 
death of Chopin a commemorative medal has been struck 
at Warsaw. It is the work of Sigismoud Slepski. The 
face shows a profile of Chopin ; the reverse, a lyre, sur¬ 
rounded with a laurel branch and two tablets engraved 
with the first measures of the Mazurka in B-minor. 

The Goethe exposition, which celebrates the 150th 
anniversary of the birth of the poet, exhibits the original 
score of Beethoven's music for the drama of “ Egmont.” 
The manuscript belongs to M. E. Prieger, of Bonn. 

The special novelty of the coming opera season in 
New York will be “ l’H6rodiade, ” by Massenet; Calv6 
in the leading role. 

The director of the National Theater at Prague has 
arranged to give a cycle, in chronological order, oi all 
the operas of Smetana, the Bohemian composer. 

The Emperor William, choosing for his series of 
“concerts directed by the most famous conductors,” has 
designated Mascagni, Zumpe, Lamoureux, Hans Richter 
and Mahler, for the coming season. Each of these musi¬ 
cians will organize and direct two concerts, one of which 
will be given publicly, the other before the Emperor 
and his guests. 

The Queen of Roumania (Carmen Sylva) will soon 
bring out her first dramatic work, a vaudeville in two 
acts, “ For a Pair of Little Boots.” 

The Royal Academy of Music of Munich has cele¬ 
brated the twenty-fifth anniversary of its existence, 
which it owes to Richard Wagner. There is a memorial 
addressed by that master to King Louis II, which led to 
the foundation, in 1865, of a royal school of music. In 
1867 it was inaugurated under the direction of Hans von 
Billow, and was transformed into an academy in 1874. 

The concert given at Berlin in honor of Joseph Joa¬ 
chim netted 5348 marks. Mr. Joachim, at the request 
°f the committee, distributed the receipts, giving 3000 
marks to the monument to Haydn, Mozart and Bee¬ 
thoven to be erected at Berlin, and the remainder to the 
statue of “the young Goethe,” as a student at Stras- 
bnrg, which it is proposed to erect in that town. 


THE ETUDE 


The opera of Paderewski, so long announced, is 
written on a Japanese subject, and will certainly be 
played in Dresden during November. There is talk of 
its being given in America. 

Moritz Rosenthal has invented an anti-climatic 
piano. This piano is American in materials and German 
in mechanism. Seven thousand pieces compose it. It 
is five feet long and three wide. 

Cesar Cui, the famous composer of the “ Filibnstier,” 
given at l’Opera Comique, has drawn from Alexander 
Dnmas’ ‘ 1 Charles YII ”a new opera, “Sarasin.” He has 
done the libretto himself. It will be given this season 
at the Imperial Theater at St. Petersburg. 

Camille Saint-Saens has returned to France from 
Rio Janeiro, where he has recently given four concerts, 
each of which was a triumph. 

The second Thuringian festival will take place at 
Meiningen on the 7th, 8th, 9th, and 10th of October, 
under the direction of Mr. Fr. Steinbaeh, chapel-master 
to the Duke of Saxe-Meiningen. The program will 
comprise on October 7th, and on the occasion of the in¬ 
auguration of the monument to Brahms, a series of this 
master’s compositions: “The Triumphlied,” “Tbe 
Requiem Allemand,” “The Tragic Overture,” “The 
Rhapsodie,” for alto solo and male chorus, and the 
Second Symphony. 


Maurice Grau has been named Chevalier of the 
Legion d’Honneur npon the motion of Mr. Delacasse. 

Miss Scza Doane, of Boston, will make a’short tour 
in the New England States, giving piano recitals. 

Victor Herbert goes to Pittsburg about the middle 
of October to begin his rehearsals of his permanent or¬ 
chestra. He has increased the number to seventy-five 
members, and he will give two concerts in Carnegie Hall 
in Jannary and February. He haa written font operas 
this summer. The first, “Cyrano de Bergerac,” played 
by Francis Wilson, has been successfully launched at 
the Knickerbocker Theater. “The Emir” will be 
played by Frank Daniels ; “ The Singing Girl,” by Alice 
Neilson ; the fourth, by the Bostonians, is yet unnamed. 
“ Prince Ananias,” produced by the Bostonians; “The 
Wizard of tbe Nile,” “Tbe Serenade," by the Boston¬ 
ians, “The Idol’s Eye,” by Frank Daniels, “The For¬ 
tune Teller,” by Alice Neilson, are familiar to the 
public. Mr. Herbert has also finished a violoncello con¬ 
certo, which will be produced this winter at one of his 
New York concerts. His first concerto was produced here 
some years ago at the Philharmonic and also at tbe Ber¬ 
lin Philharmonic. 

Mr. Paul Hennebkeg, who has been successfully 
conducting concerts at Terrace Garden all summer, the 
first flutist in Herbert’s Pittsburg Orchestra, aspires to 
the condnctorship of the Seventh Regiment Band. 


)E PACHMANN’S first recital in this country will be 
en in the Mendelssohn Hall, New York, on the even- 
of October 17th, and the second in tbe same place on 
afternoon of October 21st. After these two appear- 
es tbe pianist will play in this city and fill a number 
angagements East and West. 

?HE directors of the Gewandhaus in Leipzig have re- 
ved 30,000 marks for a Kissel Schnnck fonnda- 
i from Herr Kissel, of Manchester, the interest of 
sum to be devoted to the support of the Gewandhaus 


i Carl Reinecke celebrated his seventy-fifth 
lday on the 23d of July. The Leipzig Stadtheater 
“ The Governor of Tonrs ” on the evening of the 

day. 

n Jean Manns, author of a piano method that has 
used very extensively in the United States, has just 

in Pittsburg, where he has lived through the greater 

of his life. 

B FIDELIS Zitterbaet, composer, died recently in 
sbure Pa. He was a musician of unusual gifts, a 
„ viSuoso, a most prolific composer. Scarcely any 
is higher works have been published. He worked 
ly for the love of art, and leaves a great mass of 
uscript, snch as operas, symphonies and a string 
Jet which may some day be heard and ranked 
ng the highest art creations. 

■ „ Katharine Heyman, daughter of the late A. 

K a well known musician of Sacramento, and 
man ’ * . , T, of Rerlin after her successful 

11 ° f a r't Si » »»», i. ■ 

adian tournfee ai«tes Miss Heyman’s 

es 0 f recitals in the Unbted^ ^ 

• •• em ° Te^ 2Z tthIh/Arcnsky con- 

October, at the Boston Symphony con- 

:s. . 

„ car will return to America early in 

Cs E onte D fulfil her engagements in an extended 

race through the musical centers. 

„ p.chmanN has announced him- 
lB. VlAPIM ib the ac tion and tome of his 

' entirely charmed hig BeaBon in Mendels- 

v concert piano, au,^ ^ of Tuesday, October 

J one concert and a matinee before appearing 

•be Worcester Festival. 

th , held in England, September 


Julius Edward Meyer, professor of vocal music 
and composer, is dead. He was a pupil of Mendelssohn, 
and at his advice became a teacher of vocal music. M r. 
Meyer played first violin in the Gewandhaus concerto 
in Leipzig, also giving vocal and instrumental aoloe. 

Mb. Alberto Jonas, of Ann Arbor Conservatory of 
Music, will appear in New York, playing with orchestra, 
under the baton of Mr. Patter. 

Miss Lotta Mills, of Washington, D. C., most 
widely known, perhaps, in connection with the charming 
historical soirfcesgiven by Mr. and Mrs. Henry Krehbiel, 
will this winter appear in several chamber music con¬ 
certs in conjunction with the Kneisel Quartet. 

Mr. Josef Weiss, who made his df-bnt in New 1 ork 
as a Brahms player last season, will again lie heard in 
that city in a series of four recitals. 

Mr. Albert Lockwood, who made so decided a suc¬ 
cess under the baton of the late Anton Radi, in his con¬ 
cert in the Madison Square Garden Hall, will again be 
heard in New York. He is also booked for his annual 
tour in Canada, where he is much and deservedly ad¬ 
mired. 

EMMA Nevada has returned to the concert stage. 

The letter of Miss lteebee in the present number will 
recall tbe many oratorio concerto in which she wsa heaid 
with Theodore Toedt. Since the loss of his eyesight, 
Mr Toedt has devoted himself to tbe profession of 
teaching, and has successfully launched many church 
soloists from among his pupils. 

AN English musical journal prints quite an extensive 
article on the subject: “Wantod-A School ol Piano- 
f „ rt e Tuning for Women." We quote part of the 

article: 

“ If women are to tune pianos they must be qualified 
r „ work • that is, they must be endowed rent) a pet- 
1 Ir DO«rt»l *»d pliant fingers, strength 
f a wrist P and a robust physique These are tbe esstu- 
aD f lift cat ions for a l»*ano tuner ol either aex Tbe 

tm Tnt nhvHical training which mo*t girl* now receive 
excellent 1 T them to t»ear the strain that 

would doubtless enable,wieii womea ^ pwpMW , t0 
I>i T,i n the g n^sr; experience, the delightsome and 

f‘Irte'wel paid profession of piano tuning is open to 
fairly P ^ , bey U) obtain tbe necessary know!- 

w ork 9 Tbe usual course with men waa a five 
edge llLrf apprenticeship to a pianoforte maker, and 
or seven y^”.,“ PP ^ nnB triin onto in their various stag*a. 

the daty handling ofmstr , nofort< . lnnll ,g for 

A distinct wan‘ “^thosethat exist for instate 

women on sinula h ^i ^ ^writing. tfascbool 

tion in for women were established tinder 

°f pianoforte tan L ( ^ ^ n0 doubt that it would he 

r’^iaT and 'ta hc means of providing women with a 

• i/Sii -—“ ,bm - 






















































814 



A correspondent writes me that she is now forty- 
seven years of age and can not play any kind of rapid 
mmic unless she commits it to memory. Anyway she 
is liable to slips when the music goes fast. She desires 
to know whether it is too late to improve her technic, 
and what exercises she ought to practice for doing so. 

“While there is life there is hope” is an aphorism 
which one may take as reasonably well established. If 
the correspondent will set about a serious practice of 
the Mason arpeggios upon the first seven derivatives of 
the diminished chord, carrying them through all sorts 
of measure and at the rate of from two to six notes to 
each count, she will be likely to improve. Then I would 
advise her practicing the first rhythmic table in Mason’s 
book, No. 6, I think it is (for some one has carried oft' 
my copy); she will be likely to gain in speed. If the 
rapidity seems impossible, try first the velocity exercises 
later on, and carry the velocity run two octaves and 
one note more, playing the right hand descending and 
answering it with the left hand ascending a like dis¬ 
tance. In this way one will gain the necessary trick of 
passing lightly over the keys in velocity. Then, in 
order to secure the exact speed of the thirty-second notes, 
play first the C’s that one touches at the counts. That 
is to say, the left hand plays the base C at “one,” the 
middle C at “two,” the right hand plays high C at 
“three,” and middle Cagain at “four.” Continue this 
until the swing of the rhythm is gained. Then play the 
same and put in as many as possible of the intervening 
notes ; but do not wait to get them, merely pass over 
them. In order to get more of them, play the eighths 
and sixteenths each four times through with finger stac¬ 
cato; then, on arrivingatthe thirty-seconds, let the hand 
loose and keep up to time. Yon will get many of the 
notes, perhaps all. Apply this to all the first seven 
chords. After a certain amonnt of this practice, take up 
the scales in like manner. Then take up some good 
finger piece running at a moderate high speed, such as 
the Chopin waltz in D flat, opus 64, or the Chopin waltz 
in C sharp minor, opus 64; then the waltz in A flat, 
opus 34. Commit to memory and work up until yon 
can go through the running work several times without 
stumbling. Another piece which will be useful practice 
will be the Wollenhaupt “ Whispering Winds,” an ex¬ 
cellent study in scales, also in touch. In this way yon 
will little by little gain reliability and increase yonr 
technic. 

Oue of the main tronhles in these cases is the slow 
action of the mind. Your memorizing applies assist¬ 
ance at precisely the point where you break down, for 
you probably break down mentally before you do with 
your fingers. Without attempting any compositions of 
great difficulty there is a world of interesting music 
which will prove quite within yonr powers. The slow 
movements in the sonatas of Beethoven you have prob¬ 
ably studied before ; also the songs of Mendelssohn, snch 
as the first, buntingsong, duetto, and even the fast move¬ 
ment in B flat minor, No. 8, in the second I took. You 
will find that you can learn a majority of the pieces in 
my edition of selections from Schumann. Such Bach 
selections as the Bouree in G-major (wrongly called 
“ Lonre ” in my second book of phrasing) and the 
main part of the lovely gavotte in E-ma jor, at the end of 
the same book—all those you'can do. After a few 
months’ study it will pay yon to undertake the Raff 
“La Fileuse,” which is one of the best finger pieces 
imaginable. Dr. Mason’s edition is best (Shirmer). 

In short, while improvement is slow at this age, it is not 
impossible; and it is a great deal more enjoyable to 
work and see that one gains a little, than to retire from 
the contest in disgust and discouragement. 

“Should pupils be required to lift fingers as high as 
possible in playiug scales in slow tempo? In scales and 
arpeggios should the thumb be passed under the hand as 
soon as released, ready for next position? Are the 


THE ETUDE 

octaves on the last page of the ‘Cat’s Fugue,’ by Scar¬ 
latti, to be played with the wrist entirely ?”—A. M. 

Opinions differ as to the advisability of high fingers. 
I advise it in slow playing, on the ground that raising 
the finger preparatory to the touch indicates surely that 
the player foresees the next note. It also promotes in¬ 
dividuality of finger, and this is the only manner in 
which you can bring any particular training upon the 
extensor muscles. The fingers should be raised in 
carved position, and not straight out. Teachers also 
differ abont the proper time of moving the thumb 
under the hand. I do not think it best to require it to 
be passed under the hand immediately it is released 
from its previous place, unless the passage is a quick 
arpeggio in single notes ; in this case there will be no 
time for delay. But there are so many passages where 
other voices have to be taken care of or suggested by the 
use of the thumb that I would consider the habit of 
carrying it under the hand detrimental. When you are 
quite through with it where it has been used, and when 
it must next be played under, why be sure and have it 
there in time. But an inflexible rule of this would be 
very likely to get yon into trouble in two-voiced pas¬ 
sages. We have to remember that single-note passages 
in modern music are the exception rather than the rule 
The octaves in the end of the “ Cat’s Fugue ” are played 
with a motion at the wrist. All fast octaves are played 
so ; but with an impulse that comes from the arm and is 
worked off in groups. The conservatory way of playing 
hand octaves is by a straight up and down motion of the 
hand on the forearm. This is never used in that form. 
The motion is similar, bat the wrist should be entirely 
unrestricted (limp) and the impulses come from the arm, 
as if one had four or six octaves up one's sleeve and 
shook them out over the track in groups, according to 
the rhythm. 

11 Would you play the following passage from Landon’s 
‘ Foundation Materials’ with the hand staccato or with 
finger staccato ? ”—W. H. J. 

The passage referred to is played by a hand staccato. 
The finger staccato would he out of place there. Hand 
staccato is used for chords and occasionally for distinct¬ 
ness in what looks like finger passages. The weight of 
the hand gives the passages greater distinctness ; on the 
other hand, the motion of the point of the finger gives 
the notes greater positiveness. 

“What do you consider the essential differences in 
these three schools of technic : Leschetizky Raif and 
Mason? Which is most used in the United States? 
And which do you think will continue to be used 9 
How may speed be developed on the reed ortran 9 t« 
‘Velocity for Reed Organ,’ by A. W. Perry, good’ 
Are there any reed organs made containing all the 
pitches in different sets of reeds, from two feet down to 
sixteen feet in six octaves compass?”_E. M R. 

I am not competent to answer these latter questions 
I do not know that Leschetizky has a system of 
technic. He has some exercises for rendering the 
knuckles looser and the fingers more separate. These 
are given by his assistant teachers, but I do not know 
that they have ever been published. They are very 
severe, and the “master ” regards them as unsuccessful 
unless they are worked so hard that the pupil has to 
bandage the hand and arm with hot water to reduce the 
swelling and relieve the pain. I consider this unneces- 
sary brutality. 

Leschetizky is, or has been, a great teacher of piano- 
playing, but by means of the usual material. He has 
accomplished his results by teaching all the current re 
pertory of the piano more thoroughly and with greater 
refinement than most other teachers. He has been a 
great man to work a concert repertory down to finish 
In doing this he, of course, often extends the technic 

'' ar ‘° n ! d ' rec ‘ lons 5 and wh « n « « a condition of hand 
that stands in the way he doses the hand with very cruel 

exercises, which in some cases succeed. Much the same 

" *° b ® “ id ° f Rdf - That teacher had TZ 

helot f 3 m" ^ thC thamb ’ aQd 80me of Ws forms 
he got from Mason, through a Mason pupil. R ai f dealt 

mostly with advanced players. So far as I kno' he 

never had a system of technic, but only a few exer 

cises for doing this that nr fi,o „*i, xer 

g nis, ttiat, or the other part of technics 

The same may be said of Europe entirely. There 


never has been published a technic for artistic plavin 
All European books of technics are practically repetitions 
of the same thing. You have a lot of exercises for in¬ 
dividualizing the fingers, almost invariably practiced 
with the hand carefully kept still. There are octave 
schools, but no school of tone production in its entirety 
All European systems of technic fail through neglecting 
the arm and hand uses. Also the fingers are imperfectly 
strengthened and the touch is not refined through the 
use of plenty of very light and delicate practice. About 
a year ago I was invited by a publisher to edit an 
American edition of the most celebrated of existing 
European books of technics—Zwintscher's I examined 
the hook, which at that time I had not seen, and replied 
that I could not permit my name to be associated with 
it, for it was too stale, old-fashioned and insufficient. 
Nothing struck Mr. Virgil so much in Germany as the 
unquestioned fact that, despite their talk about technics 
none of the pupils of the best teachers in Berlin seemed 
to have much of this quality. 

The only system of fundamental technics that I have 
ever seen is Mason’s. This is the only system which has 
ever tried to bring into the playing of beginners and 
young students the qualities which belong to the tone 
production of artists, and underlie all expression upon 
the piano. He also has provided a system of exercises 
in passage forms, which, if faithfully lived lip to in the 
first five grades of instruction, will be sufficient. 

All the fine playing—the technics for artists—is 
gained primarily from pieces and such studies as those 
of Chopin. Exercise technic and piece technic are two 
different things. Exercise technics, in Mason’s system, 
contain many of the good qualities of piece practice. 

As to which system will prevail later on, or does pre¬ 
vail now, I should say that all the young and un¬ 
thoughtful Americans who have studied with Raif or 
some of his pupils, or with Leschetizky or some of his 
“ vorbereiters,” will go on using the fragments they 
have been taught to the end of the chapter. This is the 
only professional way in music. There are only a few 
of them in the United States, and therefore I do not look 
for any very overwhelming prevalence of the systems, 
particularly as they are not systems but parts or frag¬ 
ments of a system. If music teaching were an intelli¬ 
gent occupation I should expect Mason’s system to 
prevail later on. I still think it will, because at the 
present time there are more teachers usiDg it in this 
country than any other system, probably, despite the 
foreign education of so many of our prominent teachers. 
The Stuttgart system, which had a great and very poorly 
deserved vogue a few years ago, seems to be dying out— 
and quite time it is, too. 

Piano technic is always advancing. No system takes 
in the advanced points. Even now Mr. Leopold Go- 
dowsky is writing some pieces and studies which carry 
the use of the band to a point of subtlety and refined 
musical discrimination entirely unknown until jost 
now. But it is merely an extension of what we had. 
His left hand not only does all that a right hand is ever 
asked to do in the existing repertory of the ins’rnrnent, 
but adds to that difficulties of its own. In such a way 
the great players will have to work hard to play these 
things. Moreover, there is another progress. Mr. Mor¬ 
ris Steinert has perfected a new action for the piano 
(called “The Steinertone”) which places expression and 
all kinds of refinement much handier to the player than 
by the Erard action. All systems are for elementary 
u e e. Mason’s has not only touch and finger training but 
also mental. 

Your questions abont the reed organ I can not answer. 


Hauptmann .—The formal in art is really what saves 
us from the danger of passion ; in poetry it is meter 
• ■ . in music it is time. 

Wagner .—Musical time is nothing more than a me¬ 
chanical means of assisting the understanding between 
composer and performer ; but after having arrived at 
snch an understanding, it may be discarded as an obso¬ 
lete, unnecessary, and even troublesome complement- 
Gounod .—Do n’t beat time like a clock ; yet avoid 
foolish mannerism and exaggeration .—"Musical Opiti 
ion." 


316 


TUP ACTUAL EFFECT OF MUSIC UPON THE 
IMAGINATION. 


by Egbert swaynk. 


It has lately occurred to a scientist to enter upon a 
systematic inquiry as to whether music has any power 
’ awaken the imagination, and what kind of pictures 
it calls up. Tne Italian scientist, Professor G. C. Fer¬ 
rari of the Physiological Laboratory, has placed in the 
“Italian Musical Review ” (vol. VI. No. 1) the results of 
some elemeutary experiments in this direction. In pre¬ 
paring for his experiments he considered it necessary to 
avoid all individuals who were abnormally sensitive to 
music, and take only those of seeming average suscepti¬ 
bility, and these in considerable numbers, and of widely 
different ages. After they had heard a piece of music, 
each member of the class was asked to write upon a 
piece of paper his impression. The selected piece was 
always unannonuced, in order that no aid in forming a 
definite idea might be derived from previous knowledge 
of the composition ; and care was taken to have each 
piece performed by au artist of exceptional ability. 

The class selected consisted of a score of persons, from 
seventeen to fifty years of age, half men, half women ; 
of the entire class only two had any very ardent inclina¬ 
tion to music, one or two others were practical musicians 
in a limited way, and only two or three more had any 
very active inclination to it. The others were indiffer¬ 
ent to the art. 

The first piece chosen was the Berceuse of Grieg, 
opns 38, No. 1, played by the director of the local con¬ 
servatory, an artist of fine taste. The piece was played 
through twice in succession, an interval of about a 
minute elapsing between the repetitions. In some cases 
the hearers noted their impressions immediately upon 
the first performance, and varied after hearing the piece 
a second time. For the translations of the explanations 
offered I am indebted to the distinguished Italian Consul 
in Chicago, Count Kozwadowski.* 

1. The sweet and sentimental emotions of a quiet sun¬ 
set, by which sad remembrances are recalled. 

2. It describes a gay spring sunrise, followed by an 
unexpected storm. 

3. A scene of country life. Day is dying ; groups of 
women and peasants are going home and singing a sad 
song on the way. 

4. A lullaby. (A lady’s opinion.) 

5. A trip in a boat; storm; danger. 

6. Night, sleep. Agitated dream ; quiet. 

7. A nocturne. Moonlight on a charming lake. 

8. Sadness of the sunset. The music, changing tem¬ 
porarily to a livelier strain, seems to express the brighter 
shining of the last rays. The sun is gone. The music 
returns again to the first idea of quiet sadness, sinking 
into repose. 

9. Lullaby. 1st part. The mother’s foot gently 
rocks the cradle of her child. 2d part. The feelings of 
the mother while musing over the future of her child. 
An uneasiness is left which sometimes grows calmer, but 
occasionally returns^ 

10. The star Lucifer is slowly rising. Other stars of 
the dawn are following, when suddenly the red of the 
ardent sun appears ; then it is covered by slight clouds ; 
later the sun shines again, but only to be again obscured. 

11. A nocturne. The quiet of night is interrupted by 

a short storm, after which the quiet of the night again 
prevails. 

After an interval of about half an hour the second 
piece was twice played, an interval of about a minute 
elapsing between the repetitions. It was Schumann s 
Warum f ” from the Phantasiestiick e, opus 12. The im¬ 
pressions were as follows (again employing the accurate 
assistance of Count Rozwadowski): 

L A succession of calm and agitated thoughts. At 
first remembrances of serene moments of joy ; then pas¬ 
sion and anguish, and perhaps unsatisfied longings ; then 
again a serene calm in which the soul finds rest. Title, 
The Joys and Anxieties of Life.” 

2. Uncertainty and contrast of feelings. 

* We have not quoted all the nineteen answers.—E d. 


THE ETUDE 

3. Prayer ; grief. 

4. A nocturne. 

5. A dream of a spring night. 

6. A violent passion of love. A sentimental dia¬ 
logue. At the last notes the lovers are hand in hand. 
Title: “The Soul’s Yoke.” 

7. Reverie. At the beginning, the clamor of im¬ 
passioned feeling, which afterward becomes calm. 

8. An appeal to a beloved person. Now sweet words, 
now words full of bitterness, now tender, now heated. 

9. Conflicts within the soul. This is the beginning. 

In the middle part the sensation of quiet; again the 
conflict is renewed. This happens twice. The end is a 
great quiet. 

10. No doubt it means a scene of jealousy. At first 
she begins very sweetly and submissive, almost excus¬ 
ing herself. Suddenly he interrupts her and makes a 
persuasive talk ; she prays again and smiles at him. He 
becomes serious, nervous, and speaks loud ; she prays 
again and very likely the discussion ends with a kiss— 
for we hear nothing more. 

11. We behold a duel. Swords are the weapons. At 
first the preparations, then the onset. Almost at the 
first round one of the combatants is mortally wounded, 
and in the moment that he is shaking hands with bis 
opponent, in reconciliation, he dies with a smile upon 
his lips. 

Professor Ferrari analyzes the answers as follows: 

“ It will be noticed that eight persons out of the nine¬ 
teen have attributed the music to a genera) sentiment; 
piety, grief, melancholy. Six others have attributed the 
sentiment to something, hut without discovering the 
person. Only five bad true images, but still Bomewhat 
faint; less so are No. 13 his. and No. 15. (The latter 
was the impression of a youth of seventeen, who had 
been studying fencing.) Some of the explanations are 
more symbolic than true images. (Nos. 7, 9, and 11 ) 
Ten of the observers have credited the music with con¬ 
taining a contrast, somewhat sentimental. Eight found 
the characteristic accents of grief, or, at least, ol sadness. 
Only one found the traces of a rush of passion. 

The form of the responses contains also elements ol 
interest. The most characteristic points are these: 
Two pieces of melodious Andante very like each other 
were played twice by the same artist and to the same 
hearers in a single hour, and it is curious to observe bow 
different sentiments were awakened in the beare.A 
The “ Cradle Song” of Grieg awakened .n from ten to 
sixteen persons the picture of a scene in nature, and in 
«„ht persons this scene was animated, and not very 

differently The “ Warum t ” of Schumann awakened 
(titlerenny tw , r *ons out of nineteen 

«*■»--» 

pli„), and tin. otter* * *° rt “ P " 

andante mosso is m pr0 voked, in ten out of 

tbe nineteen per* ‘ b e i*bt tht .ui-e of 

o, »»»»“”“ * ration r»f« 

grief ’ g J „ for on 

upon the log*® condition of the composer s con- 
modification ol t f ir p ro f eMor Ferrari, 

sciousness at the ^ P °'” not find this experiment at all 

F ° r my TtKat least interesting. And it would 
conclusive, but it s a n ,,aervations over a more 

be in point * “udact mm ^ reprefie nwtion and 

extended territory, botu or 
of temperament in obsen e 

v ia»n thread running through the 
MELODY is the golde ^ ^ gutded and the heart 

maze of tones bv w 1 ; c mav interest, but can 

reached. Without melody is not 

not charm. F‘ , '' tana * ^ d m08t roonoionone kind 
—i** character may not be 
of music has roeMy, Chriftiani. 

to the liking of every 


TYPES OF TEACHERS: 


Maybcbn’b Madness. 


So well did young Mayburn sell refrigerator* and 
zinc-lined bathtubs on commission, his many friends 
thought his mind a prey to overwork when an¬ 
nounced that be would give up business and tbi rxe- 
forth devote himself to tbe study *t d j rectueoi rocsir. 

“ True,” argued Booth, “you play the piano ratber 
well for a fellow who has Dever studied, and you com¬ 
pose pretty waltzes, and all that, hut those are accom¬ 
plishments, my boy, merely accomplishments, of tbe 
ktad that make you a parlor hero, hut nothing more. 
Who ever heard of a fellow with brains—tbst is, able 
to average thirty-five refrigerators and bathtubs per 
week—going into the mnaical business? Yon need a 
vacation, old man.” 

To all snch speeches Maybnrn bad bot one reply, and 
that was, “Yon don’t understand. lam ambrtioua. 

It is because I play 4 pretty well ’ that I should like to 
play better, and it is because I bsve written only a lew 
waltzes that I should like to compose someibii g more 
serious. I feel it in me, and I should at least give my¬ 
self a chance. Then 1 won’t have to spend tbe balance 
of my life in vain regrets.” 

Young May burn was decisive and tneigetic in evrry- 
thiDg he attempted, and once having made np bis mind 
on a certain conrss of action, he followed it systemati 
cally and persevericgly. 

There were three well-known teachers in town,—Pro¬ 
fessor Uptodate, Professor Oldfrgy, and Proto.sor Mr 
tuoso,—and not knowing which of these topreler, May* 
bum decided to try them all, and to select aa his 
permanent guide the one whose method seemed most 
intelligible aud progressive. 

Accordingly, that very same day our hero presented 
himself at the studio of Professor Uptodate, and »>eiiig 
informed that the learned gentleman was even then 
giving instructicus, sat himself upon tbe familiar on 
comfortable chair to Ire found in the waiting room of 
every studio and doctor’s office, and gszed with respect¬ 
ful cariosity at tbe many strange pictures that cov¬ 
ered tbe walls. 

There were pictures of piano actions, of skeleton 
hands, and of queer, complicated machines *td inpb- 
rnents that Maybum had never seen before, and wbc *e 
nses he could not determine ; then there were charts of 
all kinds, covered with figures, lines, and circ le"; 
anatomical diagrams of tbe nerve., tissue*, sod mers- 
c!«s of the hand ; and, finally, many framed documents, 
which, on closer inspection, proved to be patent* tor 
various inventions of Professor Uptodate. 

“Evidently a scientific man beside* a gnat mu*i 
clan ” mused Maybnrn ; “ be nboold fill the bill.” 

Jost then tbe inner door o^ned, and tbe lumen* 
pedagogue came forth, bowing out a vacant ejed (.male 

P “Ah, my dear young roan, what can I do for yon 
this afternoon t ” he asked, turning to Mayboro. 

Quickly the latter explained tbe cbjcct of hie visit, 
.ml Professor Uptodate led him into tbe studio, where 
id a grand pi.no and a nun,tar of tbenmehim. ^ 
pictures of which Msyburn had seen on the w*lis of the 

“We can have our first lesson immediately, as 
the learned man, aitting down before a low table, on tbe 
other side of which be placed a ch.lr for bis new pupil. 
Mayburn felt much reltevtd at not being ashed a 
... to nlav. He had been debating in bia mind 
whether he should choose tat ween God..d ’s second 
*• Mazurka” or Msyburn’s “ Value Sentlmentale, and 

Professor thus dispelled immedisle •Z*U*7 : 

“ Place your banda in mine,” be requeued. 

Professor Uptodate proceeded to press and knead 
thL member* until the young pi.nrst was unrertsm 
whether he had applied for pianoforte instructs, or 

.. a„d I think tb.t after a five months couree of preper 
physical training I can plac you at tb. piano- 



























































316 

may seem rather a long time to you, but in the end you 
will find that the correct way is always the shortest. 
\ ou beginners have not an inkling of the intricate con¬ 
struction of the hand, fingers, and wrist, and of what 
intiaite patience and knowledge are required to develop 
properly the many muscles and nerves on whose control 
depends a perfect technic. Do you know how many 
bones there are in your wrist ? ” 

May burn replied that he did not, and then, when the 
Professor looked surprised, hastened to add that he had 
“always supposed there was one—that is, one bone in 
each wrist,” he amended. 

Professor Uptodate remained unmoved, and, merely 
raising his eyebrows, answered : “Listen; there are 
these bones : the scaphoid, the semilunar, the cuneiform, 
the pisiform, trapezium, trapezoid, magnum, unciform, 
metacarpal, first row of phalanges, second row of 
phalanges, and third, or ungual, row of phalanges.” 

May burn looked at his wrist very respectfully, and 
said he was surprised. 

“ Indeed, you may well be,” assured Professor Upto¬ 
date ; that is a thing which very few pianists know.” 

“Do yoa suppose Paderewski and Rosenthal know 
it?” asked Mayburn, who, as has been already re¬ 
marked, was of an eminently practical turn of mind. 

“They do not,” returned the great teacher ; “and I 
may safely say that if they did—if they were to take 
only a three-months course of my method—they would 
play twice as well as they do. Now, how can a person 
play octaves who does not know what bones there are 
in his wrist, nor their separate uses, nor their relation to 
one another ? ” 

“ But Rosenthal’s octaves-” 

^ es, they are rapid, I know, but not correct, my 
boy ; not based on scientific principles. He has a fine 
wrist, a wonderful wrist, and my one regret is that I was 
not allowed to train it. What a wonderful octave player 
I might have made of Rosenthal! ” 

With a deep drawn sigh, Professor Uptodate reached 
for a little wooden instrument that looked like a glove- 
measure and adjusted it to Mayburn's right hand. 

“ This is an autbropometrical instrument constructed 
on the lines laid down by Lombroso and Bertillou. Yon 
know who they were? ” 

“I know very little of the Italian school of music,” 
answered Mayburn, meekly. 

Again Professor Uptodate looked surprised, but he 
made no comment. 

“These measurements will aid me in determining 
yonr degree of temperament. At the next lesson I shall 
ascertain your cranial proportions, which will reveal to 
me the receptivity of your hands. Sort of an inverse 
system, isn’t it? ” asked the Professor, chuckling. 

“I should say it is,” answered Mayburn, without 
any intention of sarcasm, however. 

“Now, young man, let me ask you if you know of 
what your muscles are composed ? ” 

“ I used to know, but it’s so long since I went to 
school I—I guess I ’ve forgotten.” 

The look on Professor Uptodate’s face signified as 
plainly as words : “You, who do not know of what 
your muscles are composed, would be a pianist? ” 
Mayburn felt the silent reproach, and shifting un¬ 
easily in his chair, he asked : “Ot what are they com¬ 
posed ? ” 

Professor Uptodate ignored the question entirely, and 
propounded another, to wit: “ Have you ever heard of 
protoplasmic nuclei and the perimysium? ” 

Mayburn had not, and he felt very much ashamed. 
Professor Uptodate gazed at him very sharply, and 
asked slowly and deliberately : “ Then I suppose you 
do not even know the difference between striated and 
non-striated muscles?” 

Utterly crushed, Mayburn was compelled to admit 
bis absolute ignorance, and for the first time he fully 
realized what an enormous distance lay between him 
and the musical Parnassus. 

“ I can read at sight and transpose,” he stammered ; 
“and I have absolute pitch, and lean play chromatic 

thirds np and down with my left hand, and_” 

“Tut, tut ! ” broke in Professor Uptodate, “ those are 
minor accomplishments, of use only when scientifically 
applied. I make bold to say that you can not tell me 


THE ETUDE 

which muscles of the forearm turn the palm downward, 
nor which bend the fingers toward the palm, when you 
wish to play?” 

“ No, I can not,” admitted Mayburn, miserably. 

“ The pronator radii teres and the flexor profundus 
digitorum,” said the Professor. “Now, before we go 
any further, at our next lesson,” he added, glancing at 
his watch, “ I wish to call your attention to some of my 
inventions, which all my pnpils must use. Here is the 
‘Uptodate Patent Reversible Deltoid Exerciser,’ the 
1 Uptodate Nickel-plated Triceps Developer,’ the * Upto¬ 
date Electric Inducer, for Stimulating the Ulnar Nerve,’ 
and the ‘ Uptodate Galvanic Generator, for Generating 
Calcic Phosphate,’—very useful in octave playing,” 
concluded the proud inventor. “ The price is reason¬ 
able ; only two hundred dollars for the lot, oak finish ; 
two hundred and fifty, mahogany finish.” 

With a ghastly smile, Mayburn took his leave after 
being informed that his next lesson would be on the 
following morning, at which time he would be expected 
to pay for twelve lessons in advance and to buy the 
Professor’s musical machine shop. 

“ Well,” reflected the student, as he left the house of 
learning, “ that simplifies the task of selection, at any 
rate. The race now narrows down to the other two. 
Professor Uptodate has seen the last of me. Whew ! It 
feels good to be able to talk straight English to myself. 
Wonder if he thought I wanted to study medicine?” 

Next morning Mayburn hunted up Professor Oldfogy, 
whom he found on the top floor of a rickety building, in 
a dingy room filled with old-fashioned musical instru¬ 
ments and piled high with dusty volumes and manu¬ 
scripts. 

The old man listened deferentially to Mayburn’s 
explanation of the cause of his visit, and seemed so 
greatly pleased and honored that the young musician 
mentally decided on Professor Oldfogy. 

“ You know,” he began, in a quavering voice, and re¬ 
garding Mayburn with a pair of eyes that seemed to look 
far beyond the present,—so far back, at least, as the 
thirteenth century,—“ you know I am different from 
these modern teachers,—than Professor Uptodate, for 
instance.” 

“ Thank heavens ! ” thought Mayburn. 

“I believe in the old, the established, the tried and 
proved,” continued Professor Oldfogy, gazing deep down 
into the cavernous spaces of Time; “I go slowly but 
surely, gradually bat thoroughly.” 

" That’s what I need,” answered the student. 

“Eh? Yes, of course. That is the secret of true, 
lasting musical knowledge. Begin at the beginning.’ 

I his modern music is not the beginning. One does n’t 
eat the dessert before the soup. Frescobaldi, Scarlatti 
Purcell, Bull, Palestrina, Frohberger, are the soup • 

Mozart, Haydn, Beethoven, and Schubert are the 
dessert.” 

“What would you call Chopin, Schumann, Liszt, 
and Wagner?” asked Mayburn, politely. 

‘I never heard of them,” answered Professor Old- 

ogy, fixing his glance on the year 1504 ; “to what 
school do they belong? ” 

Mayburn could not say positively, but he believed 
they belonged to the “romantic” school. 

“Maybe,” returned the old man, “hut it seems 
strange that I should not know them. Now, my theory 
“ that in order to play the pianoforte properly one 
should first understand the virginal, the spinet the 

clavichord and all those earlier instruments of percus¬ 
sion that first suggested, and afterward led up to the 
modern pianoforte ; and on the same principle I beiieve 
that before playing this lighter music of Beethoven and 
his contemporaries it is absolutely necessary first to 
have thoroughly mastered the music of the preceding 

ag “ Ce°rmmT ^ ^ ?*** b * I “*»* -t” 

Cerminly, assented Maybnrn, moat n 
Therefore you must forget everything you eve 
learn.1 about music, and make your mind aVank .” 

despemteW P Sr ethiDg f ° r ^ ? ^ Mayburn, 
i n to hTs n M a ^ With ° Ut imm «iiately falling 

" the 

That will not be necessary,” Professor oisr 


“ I shall not require you to play a note for six or eight 
months. First become imbued with the proper spirit 
of the old masters, then interpret them. Much of thei 
music is by far too sacred for actual performance. Stud* 
it, worship it, but do not play it. Think this all ove^ 
and if you decide to try my method, come to-morrow 
for your first lesson.” 

So saying, Professor Oldfogy fixed his look on an 
epoch so long before the time of Adam and Eve that 
Mayburn shuddered, and alter a hasty promise to return 
next day, sought the sunny street with all possible 
despatch. 

“Well, there’s one left,” said the young man that 
evening to his friend Booth, as he told him the experi¬ 
ences of the past two days; “ I might as well have 
begun at the other end.” 

He spent the next morning in practicing Godard’s 
“Mazurka,” which he had finally decided to play for 
the great artist, Professor Virtuoso. 

“Certainly, sir,” said the latter, after Maybnm had 
presented himself, “I can find time for you, though my 
concert engagements keep me busy constantly. Of 
course, you understand that your lessons may be rather 
irregular, and that sometimes they may be not at all 
but naturally enough I expect you to pay just the same! 
You understand that, eh ? Well, then, we shall be good 
friends very quickly. You know there are always some 
penalties attached to studying with a great artist. But 
then his instruction is so different, so much more inter¬ 
esting and vital than that of the pedant. I shall treat 
you not as a pupil, hut as a brother-artist. Yes, indeed, 
you are an artist; I can see it in your face. Have yon 
ever heard me play ? No ? That is a lesson in itself. 
But I forget; what have you prepared to play for me ? ” 
Beaming, happy at last, Mayburn replied, “Godard’s 
‘Second Mazurka.’ ” 

“Ah ! this one ? ” queried the pianist, jumping to his 
seat at the piano, and running his fingers lightly 
through the graceful opening of the piece. “It is a dainty 
thing. What a fine.fresh talent was that of Godard’s! Too 
bad he died so young. This second theme here is per¬ 
fectly lovely. I use a great deal of the younger French 
school. Do you know them at all? This beautiful 
‘ Chant Sans Paroles,’ by Saint-Saens? ” 

Professor Virtuoso played it, and Mayburn remarked 
that it was, indeed, very beautiful. 

“Ah! if you say that, you surely do not know the 
‘Symphonic Variations’ by Franck,” cried the great 
artist; “let me play them for you.” 

When he had finished (after half an hour), the young 
man expressed his admiration, and remarked : “I once 

played some variations, but-” 

“ Ah 1 ” interposed the other ; “ I know ; Beethoven’s 


thirty-three variations on a theme by Diabelli. I ’ll pl*y 
them for you.” 

Another half-hour having heen consumed, Mayburn 
began to hope that the Professor’s excessive energy 
would begin to lessen, but with the last chord of the 
Beethoven piece the perspiring performer shouted: 
“The development of the variation-form is most inter¬ 
esting. For instance, Chopin, a great genius, was 
lamentably lacking in this musical faculty. His 1 Don 
Juan’ variations. You don’t know them? I’ll 
them for you. And then there was Brahms’ two marvel¬ 
ous hooks on Paganini themes, and Schumann’s monu¬ 
mental 1 Etudes Symplioniques ’ ! I ’ll play then) all 
for you. I’m glad you asked me. I could play all day 
like this for talented pupils.” 

At the end of two hours Professor Virtuoso, still fall 
of ambition and variations, shouted : “Isn’t this octave 
passage great? Reminds me of Liszt’s ‘ Hexameron.’ 
I’ll play it for you later. Like this Brahms ? ” 

He repeated his question twice more, then stopped 
playing and looked over his shoulder. 

He was alone in the room ! 

“ Wretch ! idiot ! ” he screamed ; “to insult me like 
that, and I gave him a three-liour lesson. I’m too g el ^ 
erous ! I’m a fool ! I ’ll never do it again ! Never! ” 

But Mayburn heard nothing of all this, for at that 
moment he was standing in the office of Tubbe, Cooler 
& Co., saying : “ It is very kind of you. I ’ll ke here 

in the morning. Anything new while I was away • 

Lbonabd Likbling. 


« 


317 


MUSIC OR NOTES? 

MABIE BENEDICT. 

NOT long ago, in a paragraph in this department on 
superficiality which too often characterizes American 
usic study, which too often blights the development of 
J e American pupil, I asked, How much may the en¬ 
thusiastic teacher do to make this condition of things a 
matter of past history? I have recently had a some¬ 
what startling demonstration of how much some teachers, 
from whom better things should be expected, are 
doing to perpetuate this very condition ; to cultivate this 

noxious growth of shallow, superficial thought and work. 

One of the pupils of a music school in one of our 
small cities came to me for a summer course of lessons. 
In questioning her concerning the studies and pieces 
which she had thus far taken in her piano work, I 
found that she had had very few of the former, and had 
forgotten the names of most of the latter to which her 
time, in lesson and practice, had been given. She said 
that she had had the Chopin Ballad in A flat, Op. 47, and 
mentioned a few other more or less well-known composi¬ 
tions; but for the most part had forgotten the name of piece 
or composer, or both ; and said, by way of explanation, 

«i never had a piece for more than a week, unless it was 
very difficult, and then I had half of it one week, and 
the rest the next.” 

“But didn’t you practice the pieces after new ones 
were given you?” I asked, forbearing to express my 
opinion farther. 

“I never had time,” she answered ; “the new lesson 
always took all my practice hours.” 

“Do you mean to say,” I exclaimed, “ that you spent 
but two weeks on the Chopin Ballad ? ” 

“Well, I reviewed that later,” somewhat apologeti¬ 
cally. 

“And for how long?” 

“ Three weeks.” 

The Chopin Ballad, with its formidable technical 
difficulties ; with its delicacy, its daintiness, its warmth 
of color, its passionate intensity ; the composition which 
costs a concert soloist long and patient study, given for 
but two and three weeks’ practice,and these at separated 
periods, to this novice. And this is called the study of 
music ! Were a teacher of sculpture to allow pupils to 
rush from one piece of clay modeling to another, bring¬ 
ing out but the roughest outlines of face and figure in 
any one case, with no time for the cultivation of the 
power to realize the secret fascination of expression, of 
grace and dignity in poise and bearing, this teacher of 
notes, and the class to which he belongs, would unhesi¬ 
tatingly declare him utterly without adequate knowl¬ 
edge of his business. And yet they do not see that they 
are themselves, in effect, doing the same thing ; that 
music expresses the life of the mind and heart no less 
than its sister arts, and that one of the same demands 
which it makes upon its students is affectionate, untir¬ 
ing attention to the details which make the beauty of the 
whole; that by training the pupil to these habits of 
carelessness and superficiality, habits which will with 
great difficulty ever be entirely overcome, they are 
blighting, if not destroying,the power to feel and to make 
others feel the genuine charm of music ; that they are 
blighting, if not destroying, the ennobling, educative 
influence with which the beautiful in music, as in 
nature, in literature, in sculpture, and in painting, lov- 
mgly envelops its genuinely earnest student. 

I am not saying that there is an embryo artist in every 
papil (heaven defend me from such a mistaken dream !); 
I am only saying that there are very often germs of art 
love which we as teachers may waken and develop or 
prevent from attaining the full perfection of growth. - 


One of the best things a musician can do for his art 
is to bring before the people the position that music 
should occupy in the general scheme of education. 
Music stands as the representative of the esthetic life in 
general. The world at large often gives to the term 
education ” the meaning of simply a collection of facts 
®ud theories, to the neglect of the esthetic sense. 

But when we exploit the real place of music in the 
scheme of education, we are opening the way for all 
that goes to make up a higher and better esthetic life. 


THE DEVELOPMENT OF THE ARTISTIC 
SENSE. 


BY PKRLEY DUNN ALDRICH. 


[The present writer contributed an article to the June Etcdk, on 
The Ideal Summer School,” which seema to have raised some mis¬ 
apprehension on the part of some of its readers.] 

Let me disclaim, once for all, the slightest intention of 
scoffing at the various excellent methods of playing the 
piano or fiddle, or even of singing, that are abroad in 
the land. Each and all of them are worthy of respect 
according to their artistic results. But I have no regard 
for a method because it sells well. Has it come to this, 
that we must go about peddling a new method like a 
patent fly trap or a new bauble? Are we never to get 
beyond the lifting of fingers and diaphragms ? Mr. 
Shakspere, who was a play-writer some years ago, 
pretty nearly said once : “ There is a divine art princi¬ 
ple that shapes our ends, rough hew them as we may.” 
There you have it in its simplicity. 

I think it was Berlioz who said that any ruusid that 
sounded well was good music. Is any piano playing 
or singing that sounds well a good method ? Well, why 
not? A man told me once that he thought Paderewski 
was a very great pianist, but that he had a bad method. 
Another brilliant party, who had taken about ten les¬ 
sons in diaphragm culture, told me that De Reszke was 
a pretty good singer, but that he had a bad method, be¬ 
cause one could see his chest move when he took his 
breath. 

These two samples of musicians really have not 
entered the domain of art. They may be tottering near 
the outside of the door, but they certainly have not 
entered the tent. They are more interested in the horc 
than the t chat, and although this is a necessary stage of 
the game, it is a pity that they can not lilt their eyes 
a moment and see the larger life that is beyond them, 
if they will only accept it. The law of this larger life 
is : That which sounds well is good art. A pupil said 
to me once, “Why do you sing that note that way ? ” 

“ Because it sounds well that way,” I replied. "But 
you could make it louder this way,” he argued. “ Well, 
why not hire a steam calliope and done with it,” said I. 
Where shall we land if we work our art on the basis of 
the louder the better ? 

Now, as to methods. We necessarily number them 
by hundreds, for each one is just adapted to the artistic 
sense of its devotee. Some people have no particular art 
sense anyway, and they can comprehend only harsh 
effects When a man sees no difference between the p ay 
ing of Paderewski and the ordinary piano pounder, what 
is the use of arguing about art to him? There «n 
any • and I won’t let him into the summer school that 
I wrote about a little while ago, even at double rates. 

The reader will surmise by this time that I bellrw 

comparatively rare, like " b “ “ 

« STj£l world. H In 
the i tool t with cnltivatioo, end J*>u can 

"TTd” .rJT»til b.I»d tnoeclt. and 

„t ' >re „ not able to Iwgin « en wrl J 

diaphragms. . ^ „ f lna ] appeal to the 

,„ g . of tatn.....» ”tmXoo,., for 

student's artistic perep . keep a , ,t until we eeo 

SO Will every one else, m to 

We all know that it **■ technic, 

make an artist The teaching of the old 

and a voice for the 8 * f out the emotional 

methods of pW^he^er-and-tougs way of 
side entirely, method* are nearer the right 

track and are infinit J?* Certainly, you 

development of t bnt do not forget that the 

must learn a good l ® thod^ js nlore artistic, 

reasou underlying i ive * when we feel tb* 


necessity of getting at the deeper meaning of things and 
setting aside the material. The teudency in the study 
of musical history is to juggle with dates and epochs, 
and so I urged, in an article in The Ert’DK some mouths 
ago, that we study the music of the masters more, lrom 
■Scarlatti to Brahma, and not bother ourselves whether 
they wrote with a stub pen or a quill. Yoor modern 
piano teacher is armed with a chart of the litliog and 
striking mnscles and the vocalist with a photograph of 
his diaphragm and Adam's apple. Let all these have 
their day, bat I mast remind the reader that he is not 
free to rnn to the artistic when bis feet are hampered by 
the apron-strings of methods. Cut loose once in a while, 
my friend, and come and attend my ideal summit 
school. Yon will find there neither diaphragms nor bot 
tied larynxes. 


LOST IDEALS. 


BY FRANKLIN PETERSON. 

From the moment a young man decidea to devote his 
life to art be is brought within the reach of influences 
and impulses which may prove very dangerona in ihe 
disappointment and discouragement they are sure to 
bring in their train. Ilia young enlbusiaMu catcher fire 
every day, and is prepared to light before many a ebrine 
a lamp of sacrifice which he vows be will never let go 
out. He is intoxicated at the prospect of upending his 
life in intimate intercourse with his gods, and even the 
hardest drudgery in technical study ia a delight. Hi* 
ambition ia not infrequenlly of a strangely impersonal 
character; and he dreams ot fame, not ho much tor him¬ 
self, as for his Ideals. Many of u» can recall auch a 
supremely happy time in oar life, and must sigh aa we 
think of the lost ideals which strew the path behind oa, 
even although the diacardlog of some ot them marks 
new stages of development, new powers ol penetration. 

Borne of us, perhaps, have a few old letter* of that 
early time—possibly returned by one of our “lost 
ideals,” along with these other trifles which lie Id the 
same drawer ! How fresh they are, bow eloquent of ihe 
beauty with which every new com posit ion filled anew 
our already brimming cnp. 

Ilaa any one of my readers a copy of the letter he sent 
to a worldly-wise relative who, in thoae happy daya, 
tried to dunmade him from choosing music as a profes¬ 
sion? He can understand now bow hia correspondent 
must have laughed to get the original ; hot doea be not 
wish bis own heart was as unselfish now, aa able to give 
np all for art, aa free from the daily cate wbirb la now 
such a depressing burden? A real musician does not 
for a moment regret the choice of hia youth. One of 
our famous, most hard working, but not most preten¬ 
tious musicians declares that he would not be anything 
else than a musician for double hia income. What a 
great thing that would be to say if lb« alotvwaid income 
fell just short of comfort or provision for dear one# 
depending on him.—“ Uonlhlg Jf*» Bncord .” 

i H - 

A 8UB8CBIPTION has lieen started to false a fund for the 
benefit ol Mia* M. M. Hatton and Mrs Frances Moore, 
the dangbter* of the coni|Ht*er, John IJptrot Hatton. 
The former has been leaching for forty years, hot cir¬ 
cumstance* have been anch that abe baa been unable 
to provide (or futore needs, and now ber health i* 
greatly impaired. The other dangbter. Mr* Moore, ia 
the widow of a doctor who died suddenly enme yearn 
ago leaving ber and her five children entirely nnpro 
vid«l for. Not only 1* her eyesight affected through an 
accident with lime, bnt owing to sudden and newt* at- 
tocks of illness alte i* unfit to fight the fettle of life and 
both she and her sister find It more and more difficult to 
secure employment. 

The Halton-Moore fund ia indorsed by the Marquis 
of Lome K. T.. Sir George Grove, 8ir Arthur Sullivan. 
Mr William H. Comm ing* (who la a trustee), and ottot*. 
who are in hearty sympathy with tb* mor«n«,t. It to 
honed that among the many admirer* ol Mr Hatton in 
America the needed aum of $7000 may fe rralited. Mr. 
T Stanley Chappell, 50 New Bond Bt.. I.ondon. England 
will receive and acknowledge any contributions which 
mav be sent for thi* worthy rouse. Novello. Ewer A On , 
21 E 17th St., New York, will alno receive contributor®*. 



















































318 

THE VALUE OF THE MUSICAL MAGAZINE. 

BY HENRY HOLLKN. 


It may now be said, relative to the history of mtisic, 
that the age of musical literature and professional en¬ 
lightenment has seriously begun its reign, and that the 
divine art is making tremendous strides on the highway 
of progress. True it is that the present era is one of 
abundant success. At no time did prospects look 
brighter. 

And yet this great advance of music is only natural. 
We have been carried ahead by the general sweep of 
civilization. Music has made great progress, and in 
equal measure have its sister arts—law and medicine. 
We need look back only a few years, to the time of 
Schumann, for instance, to appreciate the changes which 
have taken place in this brief interval of time. From 
an age of crudity in more ways than one, we have 
drifted into another vastly different in every conceiva¬ 
ble respect. We look back on the methods of but a 
century ago and they appear decidedly flimsy. And 
why not ? Progress has opened our eyes to the short¬ 
comings of the past and the possibilities of the future. 

It was during Schumann’s career that music saw fit 
to recognize literature as its helpmate. It was Schu¬ 
mann himself who inaugurated the era of musical 
thinkers. With his far-sightedness he knew that the 
pen must aid the keyboard. The possibrlities of the 
future, he knew, were destined to be unlocked by it. 
Happily he was not alone in these convictions. With a 
few associates he founded a journal, “ Die Neue Zeit- 
schrift fur Musik,” and with an able hand he wielded 
the pen in the midst of dense ignorance. For ten years 
his publication thrived. “It at once became a great 
power in musical matters, profoundly influenced public 
opinion, and introduced to Germany many new writers, 
among them Chopin, Berlioz, Gade, Stephen Heller, 
Adolph Henselt, Robert Franz, and Sterndale Bennet.” 

His labors illustrated the power which musical litera¬ 
ture was sure to achieve. Its good results were not slow 
in revealing themselves, but were well-nigh instan¬ 
taneous. Schumann made himself felt, and his voice 
was respected in all musical affairs. His criticisms, 
“always striking and suggestive, and many of them 
very clear and forcible,’’ revealed faults which were 
shrouded in ignorance. They scofl'ed at dogmatic ideas 
and ridiculed the many absurdities then prevailing. 
Those whose intelligence enabled them to entertain well- 
fouuded opinions—and there were a few of them—saw 
in the journal a means by which their various opinions 
might be distributed among the people generally. The 
ideas of the master minds of the music profes-ion were 
circulated, aud it is not wonderful that its influence be¬ 
gan at a very early date to make itself felt in Leipzig, 
and, in fact, the whole of Germany. 

This late date only reveals the inevitable. Schu¬ 
mann’s publication, “Die NeneZeitschrift fiir Musik,” 
was but a prototype of the many publications of which 
the world of music now boasts. As the civilization of 
the world, as a whole, owes to the printing-press, more 
than anything else, its present grand condition, in the 
same proportion does the profession owe its present en¬ 
lightened state to that mighty agent—the press. This 
fact is readily conceded by musical people generally. 

In view of these concessions, it is surprising that any¬ 
body should neglect that to which music owes its prog¬ 
ress and on which every successful individual must 
depend for support—viz., musical literature. It is an 
astonishing fact that there are teachers who seldom, if 
ever, glance at a book or a periodical written on the sub¬ 
ject of their own life work. It is true that there are 
those who have never taken the pains to read an item 
of information dwelling on the subject of their profes¬ 
sional duties. We need not imagine them ; they are 
everywhere about us. 

You will And, if you investigate, that they—the non¬ 
reading teachers—are the complainers of the profession. 
It is they who moan and sigh over their alleged ill- 
successes. It is they who complain of the inapprecia¬ 
tion of the public, and the hardships which they are 
consequently forced to endure. How pathetically they 
relate to us their numerous tales of woe ! 


THE ETUDE 

Inquire into the non-reading class of teachers and you 
will invariably find that they compose the “rusty” 
members of our profession. We could not hope that it 
were otherwise. Logical result of a logical cause ! As 
new ideas are circulated and distributed by means of 
books and periodicals, one must expect to find them 
there. If information were borne “on every wind that 
blew ” it would indeed be a fortunate event for those of 
our brethren known as “old fogies.” But as our earth 
is not an ideal place in every respect, the so called “old 
fogy ” must come to grief. 

Considering the rapid progress the arts are making, it 
can not be expected that the professional who does not 
condescend to read can keep apace with his fellows. 
Consequently he becomes a straggler, and finally caps 
his unfortunate career by falling out. Inquire of those 
who “have fallen by the wayside” as to the cause of 
their misfortune, and they will tell you, if they are in¬ 
telligent enough to realize it, that “they were unable to 
read,” or that they had neglected to utilize the most 

valuable means to the end. The survival of the fittest 
* 

reveals itself at every turn. 

The plea for and in behalf of musical journals has 
often been made, but, as it is, circumstances have not 
yet outgrown it. “ They are the teacher’s best friends ; 
they are among the most effective means to enlighten 
the masses. Every intelligent teacher ought to sustain 
musical publications of this kind, and, in order to aid in 
his own usefulness, he ought to see to it that both parents 
and pupils read them.” 

Every wideawake man depends for assistance on 
periodicals published in the interest of his profession. 
The doctor reads his “ Medical Report,” the pharmacist 
resorts to his “ Pharmaceutical Era,” and the lawyer 
turns to his “Legal News.” There are events transpir¬ 
ing every day with which one should be acquainted. 
Each week brings into prominence a new idea promul¬ 
gated by an individual for the welfare of an entire pro¬ 
fession. Information is gleaned promiscuously,—here a 
note concerning a new method of teaching, and there an 
item concerning the appearance of a new publication, 
with which it might be for the teacher’s good to be 
acquainted. 

It is in the periodical that opinions may be freely ex¬ 
changed. One mind can not conceive all that is the best 
and the most practicable. One may supply this and 
another that, and ultimately a whole theory may be built 
up. No man’s knowledge is entirely original; we are 
all plagiarists to a certain extent. We acquire a knowl¬ 
edge that is substantial by intermingling with our own 
the ideas of others. All are not gifted in the same pro¬ 
portion. The intellect of one individual may not be 
comparable with that of another. Through the musical 
journal a musician of superior attainments may lend to 
the man of mediocrity the output of his intelligence. 
It is the grandest medium of mute benefaction of which 
we can conceive. 

The non-reading teacher reveals his identity in more 
ways than one. Listen to the conversation of the read¬ 
ing and the non-reading teacher and note the world of 
difference. The former is invariably characterized by 
intelligence and progressiveness; the latter is as stag¬ 
nant as the water of a mud pond. 

Aside from being the means of keeping the reader in¬ 
formed and up-to-date, the musical periodical is no less 
important as an agent for arousing and sustaining inter¬ 
est in pupils and the community as a whole. By its 
aid the teacher is enabled to awake the lethargic indiffer¬ 
ence of the community in the midst of which he maybe 

laboring, and thus increase his patronage in an effective 
manner. 

There is always something in the world of music to 
interest the general public. “ Music is the art of to¬ 
day. It is the most popular and the most wide-spread 
of all the arts. Great men and women have studied it 
and are delighted in practicing it. Poets and lecturers 
talk about its influence ; the condition of musical cult¬ 
ure is improving, and every intelligent person ought to 
keep apace with it. People of refinement are expected 
to converse intelligently about music, and in order to do 
so they surely ought to read music journals, for these 
furnish them with the latest musical news, and they 
lurnish them also with solid instruction.” 


Pupils should be encouraged to read musical litera¬ 
ture in connection with their lessons. This will have 
the tendency to lighten their labors, to arouse interest 
and to make them more active. Teachers should make 
it a point to refer them to books and to articles of special 
value. Readings should be assigned with every lesson • 
and when teachers realize the good results evolved fiom 
this work, they will not begrudge the extra time devoted 
to it. It will prove to be work generously remunerated. 


HOW TO MEMORIZE. 

BY OTTO S. JONASCH. 

For some time I have been trying to discover the 
quickest, most accurate, as well as the most retainable 
method of memorizing. I have read a good deal on this 
subject, and have heard clever musicians discuss the 
point, but obtained little help. 

My principal reason for dissatisfaction with the usual 
way of memorizing is that it takes too long ; before a 
piece is learned one is tired of it. Another objection is, 
that even after one has succeeded in memorizing a piece, 
if it be laid aside for a few days one is more or less un¬ 
certain on taking it up again, and all the former hard 
work and drudgery shows such small results. 

The fault of this lies greatly with the teacher. The 
majority of piano teachers frequently give a pupil who 
is beginning to memorize a difficult Chopin or Liszt 
composition, or something equally advanced, and which 
is often beyond the comprehension or the technical 
ability of the pupil. 

How a pupil should memorize, and how his teacher 
should guide him, are many sided questions, but in my 
experience I have found that the following rules have 
been successful in almost every instance: 

First, select a piece, the notes of which the pupil can 
master very readily, so that he will not be obliged to use 
up the greater part of his energies in straggling for the 
execution. This done, let him study it according to the 
following directions : 

Memorize the music played by each hand separately. 
Play the first phrase through several times very carefully 
and very slowly. Then close the eyes and imagine the 
music before you and go through the same thing once 
more. Should a mistake be made, play it throngh once 
more, watching the music, and especially that part where 
the error was made. Then close the eyes again and repeat 
it to test the memory. By this time it will be known 
well enough to write it down. Take every phrase thus 
until you come to a convenient stopping-point or to the 
ending. Each phrase has now been learned separately, 
—go back to the beginning and play the whole from the 
notes very carefully, watching the beginning and ending 
of phrases. Then try to play the part memorized 
throngh from beginning to end wi.h your eyes closed. 

When each hand has been separately memorized, it 
will be a very easy matter to put them together. Play 
the first phrase throngh, paying strict attention to 
rhythm, as the rhythm in each hand may be entirely 
different. Then close the eyes and repeat it. If there is 
any uncertainty about the notes, go throngh it a tew 
more times, phrase by phrase, separately to the ending. 
Retnrn to the beginning and play it through several 
times from the music, then lay aside the notes and re¬ 
peat from memory. By this time the notes will he so 
stamped on one’s mind that it will not be necessary to 
refer to the music at all. 

There is still another important point, and that is, 
memorizing at a dumb keyboard, or clavier. Do not 
think it is necessary to hear what you are playing ,n 
order to memorize, for that is not the case any more than 
it is necessary to read a book aloud in order to under 
stand what you are reading. The rhythm of a compos 1 
tion should be guide enough to enable one to learn if 
The sound of the piano destroys mental concentration 
on the notes to be struck. 

Every teacher shonld arrange to add some work in 
ear-training to his course of piano study and theory o 
music, no matter how simple the work may be. Train 
ing the ear is training the principal organ of the mntica 
sense. 


319 



, HISTORY OF THE PIANOFORTE AND PIANO- 
A p7ii?TF PLAYERS: Translated and revised trom 

b, « K,LLnr. Mi, 

taud E. W. Naylor, M.A., Mns. D. New York. E. 

P. Dutton & Co. 

The combined efforts of Dr. Bie and his editors and 
translators have produced a book that every piano- 
nlayer will welcome. Dr. Bie, stimulated, we suspect, 
by the neighborhood of the “De Wit Collection of In¬ 
struments” in Leipzig, from which illustration has been 
liberally drawn, has produced a book, which, although in¬ 
exact, and to a certain extent superficial, or, shall we say, 
slightly provincial, is very interesting, frequently new m 
information, and occasionally subtle in criticism. 

The chapters, Old England—A Prelude ; Old French 
Dance Pieces ; Scarlatti; Bach ; The Galanten ; Beetho¬ 
ven ; The Virtuosos ; The Romantics; Liszt and the 
Present Time, and the author’s postcript, are each well 
worth stndy, and, thanks to the labors of the translators, 

fairly clear. . 

The first of these, “Old England,” is'decidedly the 
freshest and most just. It is surprising how near the 
author often comes to the truth in his generalizations 
and dedactions—only just misses it, in fact. The 
trouble with the deductions is the philosophic theory of 
Germanism. To English song and English instrumental 
music the doctor does more than justice—you may com¬ 
pare with Crowest’s excellent book, the “Story of En¬ 
glish Music.” Dr. Bie owns to a consanguinity with 
the Dutch school, but Italy and France he turns off with 
a word. Yon find oat why presently ; England must be 
the field for the development of the clavichord, because 
France is presently to be introduced as the elaborator of 
the dance, devoted to “all the pleasure in the formal 
beauty of hollow conventionalities.” Of the idle that 
dancing played in Italy daring the Renaissance ; of the 
universal conduct of English life by dancing, which 
Mrs. Lily Grove brings out with such a mass of detail, 
our author is wholly ignorant. That English judges 
danced, clergy danced, nobles danced ; that English 
courts opened and churches prayed in solemn dances; 
that lauds aud offices possessed obligations to dance at 
tached to their tenure, Dr. Bie is oblivious. But even 
this leaves us unprepared for such slips as the panto 
mime was invented by the Duchess of Maine ; it was in 
1708,” etc. The great artistic development of the 
Roman Empire smudged off with a blot of ink ! 

Just as inexact is the proposition that it was in 
evitable that Italians should invent the opera the 
opera in which everything tends to the spectacular. 
Not a word, observe, about the grand Wagnerian combi 
nation of orchestra, declamation and scenic effects. Italy, 
which raised siDgiDg to its highest point, must smart 
for it. She gave herself over to the development of an 
empty virtuosity upon the keys of the clavier. 

The prompt statement that “with the appearance o 
Bach the whole history of music turns to Germany , 
aud clavier music so far as it has a particular meaning 
is henceforth German,” is not a surprise to the reader. 
Bach, endowed by his Croatian blood with dramatic 
versatility, is indeed cheerfully adopted ; so are Mozart, 
the Austrian, and von Beethoven, the Dutchman. u 
poor Haydn, the Croatian; dementi, the Italian, 
Field, the Irishman (our author erroneously P sees 
Dublin in Scotland); Liszt, the Hungarian ; Chopin, 
the Pole; and Saint-Saens, the Frenchman! A a-, 
poor Yorick ! 

In a line with this is the good doctor’s scornful denun 
ciation of “ Handel, vvho first followed the wise P re 
scription, glory in Italy, gain in England . . . w o is 
never troubled by an exacting inward conception, or 
overwhelmed by bis own imagination, as are a ^ u 
artists.” This of the composer of the “ Messiah, » 
“ Moses in Egypt,” of a series of harpsichord suites 
with gems of most pellucid luster. 

The good taste of the translators has worked won 


THE ETUDE 

with the text, which, flowing from the pen of a true, 
serious, deep-hearted German musicoliterateur, mut-t, 
of necessity, sport with a mixed metaphor on fit occa¬ 
sions. 

We are not surprised to read that after Purcell and 
Arne, “ English clavier music in later generations blends 
with the Continental stream until it is absorbed and must 
seek its nourishment from without.” After forsaking 
the company of those worthy Britons, to reappear iu 
future generations, to blend with a stream, subsequently 
to be absorbed, and then to manifest a reviving appetite, 
would seem to have successfully solved Hamlet’s conun¬ 
drum, “ To be or not to be.” 

This is not quite as wild as an allegory on the banks 
of the Nile ; hut what of this—of Chopin ? 

“ His greatness is his aristocracy. He (like Sartor Re- 
sartus) stands among musicians in his faultless vesture, a 
noble from head to foot. The sublimest emotions, 
toward whose refinement whole generations had tended ; 
the last thiDgs in our soul, whose foreboding is inter¬ 
woven with the mystery of the Judgment Day, have in 
his music found their form. At this Judgment Day 
appears to be expressed what man kept dark within 
himself, and shuddering, sought to hide from the light. 
Now it is free without becoming plebeian ; it has been 
uttered without becoming trivial. This miracle is 
sung by geniuses, who are not as cold as marble nor ol 
such unreal beauty that we, to our horror, are con¬ 
strained to believe there is an anti-humau classicism. 

No ; theangels wear those delicate features as they wen\e 
nobility and joy into one. These are Polish piqnam es, 
—tender and shining eyes of inner fire, with happy, 
heavy lids, and gently curved outlines in which pride 
and spirit blend together; speaking lips, which have 
something sweet to say, and gentle, melting contours. 

None of us-no, never in its maddest gambols-ever 
struck an Egyptian allegory as wild as that! 

The chapter on Beethoven introduces a nautical ex 
perience. “ Beethoven revels in the gloomy. He bunes 
himself in deep tones, as in the Andante of the 1 athf- 
tique.” Later, on the magnificent Broadwood piano 
which he received from England as a present (perfhU 
ilbion!), he goes with delight into the regions of the 
deep 1 “The trios of his Scherzi are full of the sonor¬ 
ous murmuring-* of billowy chords. 

Beethoven must have escaped from his P^n ous craft 
, r frir h» lived to write an Adagio (Op. 1* <■ 
"”id. ’«• lire itself, ana Michelangelo like i° Ua 
.„»»» longing for F-sharp -hJW* ™ “ 

.. on,, 

Stp^/tha, Dreyfns ...id »Pi- *» *«» 

’oSt. o.b« handle 

sorprieiaglj neat an he haled all halflighta 

■■ Gre ,t d»ngb M a. - ; be „ nJ 

and coloration., 1 Beeiboeen {Mn.ic •* 

..»- 

Weber, to find - .. of dances, which Josef 

when he finds Rubins cm ^ New York, “ rsp’dlj 

Hoffman P la - ve ‘ l w1 ' !, when we see him “ pl«f« °° 
dropped into ' piano p laying of our time - a 

Albert the crown g IoTab i e person with as- 

small man with gra P we rob onr ejes. 

tounding artistic serio ’ ^ tayF how much in 

—■ *»- 

the delicate, emotional d intcrpre ter of Russian 

bravura pianist , > ’ j_ i9zt player; Rosenthal, 

piano music; Fnedbe , on( ,oftbe most in 

Le astounding technicmu^^, ^ ^ 

tellectnal ; Vlad.m.i -to mMOrVM with ahso- 

travagance. at leas P . tfona j characteristics , 

lute faithfulness to their 


Busoni shows great psBsion.” Paderewski a drawing 
room pianist, Sauer a bravura player, and Busoni pos¬ 
sessed of great passion, will amaze the Americans who 
most sincerely admire these pianists. 

But our author has a surprise for os nearer home. 

His postscript contains an industrial review of piano 
making. He places at the head of the art Becli- 
stein, so fundamentally sound, and Steinway. with his 
patent fulness — the latter possessed of 130 acies of 
timber land in their great estates in Astoria. ' Ah, Dr. 

Bie, it were sweet for you sportively to rest your bead 
in the lap of Nature (as you said of Beethoven), beneath 
the shades of the primeval forest that stretches from the 
Dewey memorial arch, by way of the Brooklyn Budge, 
clear fo the very end of Izmg Island! 

WHAT MAKES MUSIC SUCCESSFUL? 

BY THALKOK Bl.AKE. 

A MARKED and characteristic demand of the present 
times is for trained thinkers. In every business sod 
calling the master workmen are continually searching 
for capable men. Everything being equal ss regards 
education, talents, etc., of two persons, the one who 
puts the most brain* into hi* woik, who can think end 
dues think, will outstrip the other in the race for mate¬ 
rial success. 

There are many musician* who posses* talent, who 
have a deaire to succeed, yet fail because they are not 
trained tliinkei* It i* the wail of the unsuccessful 
that they are unlocky or unfortunate. 

Now, I do not believe in lack, any mote than 1 believe 
the moon is made out of green cheese. These unfurl u 
nate brethren should waste no lime blaming oilier*, or 
circumstance*, or what not, bat seek to discover the teal 
causes of failure, which they need look for no further 
than within themselves. The knack of “ accomplish¬ 
ing” things, of “working well.” presupposes at om-e 
the ability to “ think well.” Industry, sobriety. jodg 
meat, perseverance, push,—all three, and more, may 
come to the mail who fcliool* hie brain* and will. 

Music is the language of the heart, and appeals to 
the bead only through the emotions ; yet It requires 
brains to write it and brain* to interpret it, and the 
more brains put in their work by tb. composr snd in¬ 
terpreter, the larger and sorer w,U 1* the measure of 
their success. 

Teachers, put brain* in yonr work, put brain* in your 
teaching, put brains tn yonr reading, in yonr thinking, 
aud teach yonr pupils to put their brain, in their studies 
and practice! It is inspiring to see the progre- in¬ 
dents make, once they l.sve learned to study, reason, 
or practice coolly, steadily, aud ayatematically. 

•% 

What la executive ability*? b KjUUr *».«***“« 
more than the art of Ming yonr business * *»»**££ 
itv of duties bewilder all but executive beada. Why ? 
Because other, attempt to do several ** °““ t 

The man of affairs has learned by experience that It he 
hss fifty different thing, to do on any given day the 
proper way to proceed is to ignore forty 
and complete on*. Then proceed with the next, 

n Here’s the whole secret m a no label! : I>» one Ikimf 
at a lime! No one ran work a problem in trigonometry 
, . _].* on tbf. piioo • dimwit 

and read wd pby o£ tri ed it, and 

music at sigh * „ nrl ov „ until the example proved 

solv.d ; but theu I always found 
itself to tonight into the musie in ten minutes 

that I got more >nsign•things 

at once. The vast ww , k following this rule 

of dohlg's-ud Completing one thi»« « . til. -—* 
to astonish any one who ^, renw Between a 

I believe in wgm. The „ ,b. 

mobofathonMndroensmlar id for ro „ 

difference between d B reaT he, train them 

men, and I donot ca believe in *yet*mi*a- 

’* h ' “d ind ."hi in ««««<2 

done Adaily task of definite length, performed 
detail* done, a aauy item, tn regular 

at the same hour each r « tboo ght to best 

order, the each individual. » the only 

SwiJKS'TSSi-MO.. - 

tain, and rapid. 





























































320 


THE ETUDE 



procfical poir>t5 Eminent Teocbe^ 


THE TBACHBR'S HBADTH- 

ROBKKT BRA1NK. 

Take care of your health it you would do successful 
work. It is impossible for a teacher to give a really 
helpful lesson unless he is brimming over with nervous 
energy and personal magnetism. Such power is invar¬ 
iably possessed by really great teachers, and it is this, as 
well as their great knowledge, which enables them to 
turn out great pupils. 

There is no profession which makes greater drafts 
on the nervous energy than music teaching, and for this 
reason the teacher should carefully husband it. It is 
simply a case of slow suicide for the teacher of music to 
teach more than six or seven hours a day, and yet we 
often hear of teachers teaching ten or eleven as a regular 
thing and sometimes as high as twelve or thirteen on 
special days of the week. Thesystem can not long stand 
up under a strain such as this. A vocal teacher in New 
York city recently boasted of having given twenty-eight 
consecntive lessons in one day and evening. It was 
certainly a very foolish proceeding and would do his 
nervous system more harm than a month of teaching at 
the rate of five hours per day. 

One of the most successful teachers I ever knew, who 
got through immense amounts of teaching in his life, 
and had not a gray hair in his head at the age of fifty! 
made it a point to take a walk of five minutes between 
each lesson ho gave. If the weather was fine he would 
walk a block or so in the open air, and if the weather 
was bad he would walk around the halls of the building 
in which his studio was located. The walk would re¬ 
lieve the tension on his nervous system and he would re¬ 
turn refreshed for the next lesson. 

Another thing : never leave all your teaching for one 
or two days. Scatter it through the week. A moderate 
amount daily is liest for the health. 

A COMMON ERROR AMONG TEACHERS. 

MADAME A. PUPIN. 

A teacher is hardly to blame for taking a pupil at 
her own estimate. A new pupil comes and says she can 
play Leybach’s “Fifth Nocturne” or Liszt’s “Second 
Rhapsodic,” and does really make a creditable perform¬ 
ance of the same ; yet it is hardly safe for the teacher 
to assume that the player knows all that leads up to 
these pieces. 

It should not be assumed that the new pupil knows 
what a minor scale is, or why some scales have sharps 
and some flats, or that she can tell the key of a piece 
from the signature, or read the notes written on leger 
lines. Some teachers and some text-books begin with 
the assumption that the student is familiar with certain 
fundamental principles, -and subsequent teachings are 
often obscure for lack of this omitted knowledge. 

Other teachers have the habit of saying : “ I shall be¬ 
gin at the beginning. I shall assume that you know 
nothing whatever. If I tell you something yon already 
know, it will not harm you ; but if I omit to tell you 
something you ought to know, but do not, I shall have 
defrauded you. I shall soon find out what you know, 
so you need not fear you will be put back ; you will be 
put just where you need to be put to get a thorough 
training.” 

A teacher examining a new pupil asked, “ What is 
the meaning of this sign 'T s ? ” and received the fol¬ 
lowing reply: “Well, I always thought that was a 
moon and a star, bnt I never understood why they nut 
it in music.” 

It does not always occur to a teacher to inquire if his 
pupil knows certain elementary principles, so when this 
pupil goes to another teacher, who is more exact, the 
former teacher get* the credit of being ignorant or 
superficial, when in fact he is only careless or thoughtless. 


EXPRESSION. 

S. N. PENFIELD. 

Rhythm, melody, dynamics, these, the three elements 
of music, as taught in the old time instructors, or, in 
plain English, correct time, correct notes,'correct expres¬ 
sion. The first and second of these elements are gener¬ 
ally well or pretty well looked after by the average 
piano teacher. The third is largely neglected, not pur¬ 
posely, but as the result of a variety of causes. Of these 
we note the following : First, the absence of expression 
marks in the printed music. It is a great annoyance 
that composers are careless about writing in their marks. 
Sometimes not a mark is founrf from beginning to end of 
the piece. But that is another story. Second, the mis¬ 
leading of wrong marks. Publishers have always 
musical editors whose business it is to revise manu¬ 
scripts and supply deficiencies in the marking. Natur¬ 
ally they do this in a perfunctory, stereotyped way, and 
in any case they can not know all the nuances intended 
by the composer. Therefore their marking is frequently 
wrong. Frequently the printers are at fault. But the 
third and most common trouble is the carelessness of 
both teacher and pupil as to observance of the existing 
marks. It is to be expected that the pupil will overlook 
these to some extent, and all the more as he has to play 
many passages over and over again for accuracy, and he 
thus loses the continuity and significance of the musical 
thought. Frequently the boy or girl has to fill in the 
time after school with practice and the thoughts are out 
of doors with the youngsters at their play. But the 
fault is largely with the teachers themselves. When 
heir work becomes mechanical and perfunctory the 
case is sad indeed. No teacher is competent who can not 
give examples of all effects called for by the music, and 
who can not personally supply the deficiency of expres¬ 
sion marks or correct the wrong marks which he finds 
printed. Farther than this, no teacher succeeds who 
does not inspire his scholar to search for and actually 
secure true expression. Yet there is such a thing as 

™ P) T’” g l0Ud ’ 80ft ’ sIow > fast - ^accato, 
egato, accent, retard, etc., and still not find the music 

really saymg anything to you. Observance of the true 
marks is a nne qua non, but real expression, real talking 
of the music is something higher, something deeper 
ich can not be put into expression marks. The ear 
must recognize it, the fingers reduce it to practice and 
the musical sense sit in judgment upon it. This the 
noblest work of teacher and pupil! 


UIATCH THE IiITTLiE THINGS. 

CARL W. GRIMM. 

The difference between a good player and a poor one 
consists principally in little things, but those littl! 
things make the difference great. There are quite 
number of pupils who practice faithfully, yet do l t 
improve much, merely because they do not watch the 
little things. For example, the notes, the accidentals 
the time-values, the fingering, and the like ; all thintrs 
that they know very well, but never see, because they do 
not apply their knowledge. How many lessons are act 
ually wasted because the time which ought to be used 
to teach something new has to be consumed with weed¬ 
ing out unpardonable mistakes—errors that would not 
be there had the pupil only watched such little 
things. Be ever on the alert for mistakes as you would 
be for thieves. Where the comers are not swept, spiders 
will spin their webs. 

How can the pupil expect to find a lesson interest¬ 
ing when the time has to be employed in the irk¬ 
some task of merely patching up and mending his care¬ 
less practice ? Think of the time wasted in practicing a 
piece wrong. Why not be wiser and do everything cor¬ 
rectly in the first place? Furthermore, the amount of 
care you bestow on anything shows how much, or little 
you esteem it. 

If you wish to arrive at the great things in music, then 
watch the little things early. Doing this requires lots of 
patience, but only patience and perseverance will finally 
conquer all difficulties. If your playing be worth 
anything, you must have made it valuable by a great 
amount of work and care upon the almost numberiess 
little things. 

A MUSICIAN’S DIGNITY. 

JOHN S. VAN CLEVE. 


"METHOD” TEACHERS. 

J. W. CLAUS. 

Every experienced music teacher has noticed and 
observed the great difference in pupils about receiving 
ideas, comprehending quickly the division of time and 
understanding the musical terms. Some appear to learn 
by intuition, while others can scarcely be made ™ 
understand at all ; and yet often the one with thequic^ 
understanding may be the slowest at execution . 9 He 
mil be the quickest able to go forward without the aid 
of a teacher but the most backward in making his skill 
ava,lab,e-that is, in letting others perceive whaS 
really has accomplished in the art of piano-playing 

It is this peculiarity in different scholars that* tri M 
h ""”‘ teacher with 

£;h u .;rfrcf;:;rsrjr 

apologies, no matter how facile nnv he th * P °°’ 

•ion and interpret,,,.,, of »'» ««™- 


The musician, whatever his specialty, should demand 
respect from other people. There is no reason why he, 
since he is one of the very subtlest and most alert of in¬ 
tellectual workers, should not be so' recognized and 
treated. But to secure respect he must begin by rever¬ 
encing himself. Not in a spirit of arrogance and self- 
conceit, for that comes of intolerable narrowness, but 
he should think of himself reverently, because of his 
vital and constant connection with so great, and noble, 
and important a subject as music. Then the next thing 
he should do is not to show a captious spirit by takiDg 
offense ; by a disposition to look out for slights. On the 
contrary, he should bear himself as one who takes it for 
granted that any man of culture and character must 
know his value. 

Avoid the two extremes—petty irritability and swollen 
arrogance. 

WORDS Op ADVICE. 

WARD STEVENS. 

Do n’t let your enthusiasm blind your common sense. 
Enthusiasm backed up with common sense is one-half of 
the battle won. Do n’t accept as truth or fact every¬ 
thing that you read ; have enough confidence in yourself 
to venture an opinion, and so avoid stuffing in a lot of 
rubbish and the expressions of inexperienced and ignor¬ 
ant people. Never study the piano with a man who is 
not or who has not been at some period of his life a 
first-class performer, for it is only these people of prac¬ 
tical experience who are capable of giving you worthy 
assistance. Watch with discriminating eye the path of 
experience, ’twill not be time wasted. Cultivate those 
whom you know to be serious artists, not those who must 
needs be advertised as such. Always judge an artist by 
his work, not by his newspaper reputation. It is not 
dementi’s “Gradus,”nor Tausig’s “Daily Studies,” 
nor the “ Pisclina Exercises” that gives you technic, 
but it’s the proper use of any one of them. If you have 
a musical idea, do not be afraid to express it to your 
teacher ; if he be a conscientious man, he will give you 
credit for it. Individuality is always recognized by the 
true artist ; ’tis only bigoted ignorance that will not 
allow it. Never refuse to play for artists, or those 
who appreciate serious music ; this experience of play 
ing before people is invaluable to the concert per¬ 
former. 



3940 


YALSE LENTE. 


1 


* 


Revised by Constatin von Sternberg. 


MARTINUS SIEVEKING. 


Andante cantando. 




Copyright 1899 by Theo.Presser. 6 


































































































































































































































































































































































































































3 




Krprat previous 
vate at % 



. , - , ement . ireful not to have 

u J This 3<f beat is a mere co7npl« menl ' 


it sound into the next measure, as 


the harmonies should 


collide. 


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e) Observe the pedal marks! When the staccato in the tnel- 
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f) g) This change of time really concerns only the left 
hand; the 8th notes in these two measures are not differ¬ 
ent from any of the preceding ones . 


tfo 2846 


5 


Spring Song. 


Friihlingslied. 

Revised and fingered by ° 

j.Stankowitch. (In the Form of an Etude.) 

Allegretto, m.m. J : m-uo Victor Hollaender, Op. 3, No. 1. 

accentuate the melody. 

1 




Copyright 1899 by Theo. Presser. 3 




































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































































S XV 2905 


Hungarian Danee. 

Ungarischer Tanz. 

SEC0ND0 Bernhard Wolff, Op. 166, No.4. 


Allegro vivace. 




Copyright 1899 by Theo. Presser. 4 



X? 2905 


Hungarian Danee. 




Ungarischer Tanz. 

PRIMO. Bernhard Wolff,Op. 166, No.4. 


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N? 2943 


REMEMBRANCE. 


Harmel Pratt. 



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14 


N<> 2942 


The Bells of the Old Minster. 

(Descriptive Piece.) 


Blaus Rowdemath 



VESPER HYMN. 
Largo religioso. 



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16 




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N? 2941 

A Silent Prayer 


Ein fromm’ Gebet. 


17 


Andante. 


Th. Kullak. 


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N? 2931 


TEASING. 

NECKEREIEN. 


Molto vivo. 


N. von WILM, Op.12, No.5. 



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20 


NO2847 THE BUSY LITTLE BEE. 


Edited by WT Benbow. 


Herm. Nurnberg, Op. 208, No.l. 





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22 

N9 52863 


PRETTY GRACE. 


Words by 

Mabel Mac Lean Helliwell. 


Ed. E. Farringer. 




1* rhro ’the dai - sy , mead-ows trip-ping, Like a fai - ry 
2. Tom his way thro’ dai - sies wend-ing, Lit - tie dreams his 


vis - ion flit - ting 
steps are tend - ing 



Pret-ty Grace 
Towards Grace 


Pret-ty Grace, 
Towards Grace. 


Cu - pid whis-pers: 
Cu - pid whis-pers : 



‘Bow be stead-y.” Holds his lit - tl e 
“Bow be stead-yp Shoots his lit - tie 


- row read-y, i n its place, 

ar - row read-y, From its place. 



Copyright, 1899. by The-v Pres-,er. 2 



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24 N<> 2862 


DEARIE. 

(A SCOTCH BALLAD.) 


Words by HERBERT RANDALL. 

* 


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Music by LEO OEHMLER. 
Slowly, with feeling and pathos. 




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2. But noo the days are a’ sae dark 
Syne ye ha’e gaen sae far! 

Ah,well! my dearie, life’s too Ian* 
Syne ye ha’e gaen awa. 

Copyright 1*99 by Theo. Pre* ser . 


I ^jve the rain and snaw naemair, 

My heart is na the same, 
e kirkyard winds nae sweetness blaw, 
byne ye dinna ca hame. 


HOW TO STUDY THE HISTORY Op JBUSIC. 

\v. J. BALTZELL. 

“I have no head for dates ” we often hear some pupil 
in reference to the history of music. It is not out of 
S 7 ce to remind such students that the aim of study is 
P t gjmply an accumulation of facts, but the ability to 
“ those facts in practical work. It is very pleasant to 
kn0 w when Beethoven was born, some incidents of his 
early life, how he won his way to success and fame, and 
any number of other facts connected with his life and 
work But the true aim of the study is to learn the 
significence of the various events in Beethoven’s life,— 
as also with Haydn, Mozart, and Bach-to note what 
helped to develop his personality and made him the 
musician he came to be in his later years, to find out 
what he gathered from his predecessors, what he assimi¬ 
lated into his own work, and what he did for music. 
The measure of a great man in music, as in anything 
else, is not in a transcript of events and dates, but the in¬ 
fluence which everything he did had upon his develop¬ 
ment and upon those who lived in his time and those who 
have come after. When you study the history of music 
or the biography of some famous musician, look at the 
subject from the broader, philosophical standpoint. 

HflR-TRHlHlHQ- 

PEELEE V. JEBVIS. 

It is questionable which is the worse: sharp fingers 
and dull ears, or sharp ears and dull fingers. In con¬ 
ducting a summer school recently, I was surprised to 
find how many teachers had fairly sharp fingers, but 
very dull ears ; very few of them could distinguish a 
major from a minor second ; some few could not tell a 
major from a minor triad. Of what use are sharp 
fingers without sharp ears ? and how can a teacher do the 
highest quality of musical teaching without a trained 
ear? 

Every progressive and earnest teacher should first 
educate her own ear, and then see to it that her pupils 
have systematic daily practice in ear-training. Other 
things being equal, with an ear that hears everything, 
the quality of the pupil’s practice and playing will be 
immeasurably improved. 

CHHDOR. 

HAEVEY WICKHAM. 

If I were to give a word of advice to the young musi¬ 
cian standing upon the threshold of his career, I would 
say, “ Be honest ” ; nor do I think that the advice would 
be altogether superfluous. It is so easy to give a slight 
bias to those first public statements about ourselves 
which make up the virgin advertisement; and having 
done so, it is so difficult to return to perfect probity, 
that a timely warning may easily be of service to some 
ambitions novice who reads these lines. 

Candor—a plain, outspoken, business-like way of deal¬ 
ing—is, unfortunately, not a distinguishing characteristic 
of the rank and file of our profession. When the Ameri¬ 
can has won the position in the world of art which is his 
by right, there will b8 a marked change, I believe, in 
°ur ethical standards. At present, foreign ideas pre¬ 
dominate, and too many are engaged in the time-honored 
practice of putting the best foot foremost. 

It may lead to temporary success to put in circulation 
over-flattering ideas of one’s self; but be assured of this 
fhe great, observing public can not be deceived for 
long. The time, talent and money spent in attempting 
t° deceive it would, if spent legitimately, make the 
deceiver rich, and leave him upon a higher plane 
actually than that upon which he has posed in mere 
pretence. 

If yon know your business, and advertise it in a 
frank, - common-sense and thoroughly bona fide way, suc- 
0688 will come of itself. If you do not know your busi- 
ne,8 > yonr having studied with Leschetizky will make 
permanent impression upon any community, nor will 
asting, nor press-puffs, nor anything which you can 
0 learning the business in question. And bye 
ihe bye, if y 0tl have studied with that famous savant, 
or any other teacher, for one year or two, do not let the 
•dea go abroad that you have studied with him for three 
or four. The truth is bound to out, and it is a poor 


THE ETUDE 

business move to connive at falsehood, to say nothing 
of instigating it. 

Note the impression you make upon men of affaire, 
merchants, bankers, etc., for it is they who determine 
your professional standing, and from whom yonr best 
patronage must come. 

the piAN behind the gun. 

F. S. LAW. 

One thing was brought home to us during the late 
war : that it was the man behind the gun and his aim 
that decided battles. The Spanish gunners had just as 
much will to hit our ships as American gnnnere had to 
hit theirships, bntthedifferencelayintheaim. Lacking 
practice and training in scientific gunnery, their pnrpoee 
alone was of hut little avail. So it is in life. Not only a 
purpose is necessary, but an accurate aim, and a full un¬ 
derstanding of conditions as well. The teacher’s purpose 
is readily defined ; bnt does he always adapt his means 
understandingly to the end in view ? In other words, 
does he aim accurately at his mark, and see that it is 
attained ? Those young and inexperienced in the pro¬ 
fession are prone to think that the administering of cer¬ 
tain formulas or exercises is all that is necessary ; bnt 
there is no saving grace in any formula or exercise con¬ 
sidered in itself. Such devices are merely cannon-balls— 
of no avail unless they hit the mark. The teacher must 
project his mind into the mind of his pupil; see as far as 
possible with his eyes and hear with his ears. It is 
not so much a question of moving the fingers or of caus¬ 
ing the throat to emit tones, as it is of moving the mind 
which governs those fingers or that throat. V iewed in 
this light, teaching becomes a fascinating psychologic 
study in the influence of mind upon mind. The teacher’* 
ingenuity is constantly taxed to devise methods of pre¬ 
senting old principles in new forms, in order to adapt 
them to minds of varying capacity and experience. 

Perhaps the most common fault is overshooting the 
mark—stating a subject in terms adapted to the teacher s 
comprehension, but too abstract for the less mature mind 
of a pupil. Simple, homely illustrations often hit the 
hull’s eye when more abstract conception* miss. The 
writer will not soon forget a gifted teacher who ex¬ 
plained the traditional Bach touch, with its gentle 
slipping of the fingers toward the edge of the key., by 
saving “You must stroke tbe cats back. In lllu* 
trating the wrist staccato, the same teacher And 

now you must pat tbe dog’s head.” A bullet well 
aimed will do more execution than a twenty-fout^pound 
cannon-ball which goes wide of the mark. 


Jr questions 
answers 



Etcde. 

*» »—» 

. melodic fifth U on. produce! by th. »«««••»' 

A melodic melody not* A, C, D, L. 

For eitmp'c: S«PP< - u jj* bam. to* D and 
first two hsrmonlMd p „ spposgl*- 

mircd on tbe tdhki*** ’ h „ d lnlh .««ndO,for»- 

inlb^rncmecooMbe^n ^ ^ „ 

ecu tbe F-Cand O-D. tha D ebonH bt 

, ad of .be ’JJJSUdi result a harmonic 
. .be dominant 

a resolt of tbe **°***** . Hungarian national 


321 

c. 0. M—We can Dot undertake to a never any tjuseltous ta U>» 
department unleaa we receive the full name and add ran of Uir 

P»rty. 

j. M. Jl.—Aa a rule, the suooessiuo of the dominant and aubdoml- 
nant chorda ia sol aatlafaclory, a* la the fourth and fifth uuae- 
urea of “Flm Thought," by Wlekeda, la Tw* Errtra lor duly 
But when the dominant le tbe lent chord of one pbraar., and the 
eubdomlnant the (rat chord of another phrase, the otfieuitunabta- 
nes* disappear* to a oonaldera.de eatccl. Thl* D the oaae In the ex¬ 
ample cited above. 

Miss If. B. 8.—1. 81 a yean old to not loo early to begin the eludy 
of muaic. 

2. Tour teaching to out vary with tbe age of the pupil. 

S. Benda book of aoalee and escrclst* I* bettor for second of third 
year of alndy rather than first 

A Scale*, arpeggio*, and little pteocs nlwayt find a plane la the 
Aral year a> won at the pupil ha* a good poultice! of the hand. 

s. A child erven yean old ohould bo able to take half an hour's 
teaching at a time, and to preolloe half aa hoar, home children 
could do even more. 

S. Children (even year* eld abuuld begin In learn to eing tbe 
intervals of tbs scale and In read at eight. This la beet done by 
tonic aol-fa, which any bright ptano-tascbar can m antes without 
teasona. It Is too early In try In colUvai* girl*' mdees, bul lieys 
have a Ane soprano, which can be trained at oooe. 

7. The basis of tbe study of singing Is soltaggto practice 

If us. L. T.—1. The Aral position wa the ataadulta takes in all the 
open strings. If you move up your hand aa that aacb finger plays 
one.fret higher than it did In the find position, you have entered 
tbe second. If you shift ths hand still one fret higher, you are In th* 
third, and ao on. 

L To help your pupil read notes gauntly, play siutpto duels * itb 
bar; make bar writ* lbs noise oa music paper as you dictate I hma 
to her, and writs th* aealet. Have her new* the oota* of * few 
lines of music awey from th* piano ever) day. 

Mu. L H. C—Too will find In tb# column* of To* till— very 
strong articles on th* necnseliy of enalc prartb*. Il I* impose!bl* 
to learn to play lb* piano without ft. But acalo* were made lor 
the pupil, not the pupil tor scale*. 

Mu. a J. H -The publisher of T»* Ert'i* win eupply you w lib 
the photograph* of lb* eompoeera. Tb* atartas yo* wish are con¬ 
tained In tb* biographies and lotion of th* eompoeora to whom they 

refer. 

The stories referred to In th* Drpartsnont of Woman s Work 
were gathered from many sources. " lift and Udtar* of fhopt*,* 
by Karaaowskl. "Life of Mooatt," "Mandetowha's leU-ra," 

•• Prso, Ltsst," by L Kern son | “ Recant Musicians," by Mom hole. 1 
“Autobiography of Barter Berlin*". "Jenny Und. tbs Arthd," 
by Holland and llocksire, and th* Id-graph In of tb. other *t»- 
posers. Tb* story ahoul F.IU I* >» "<*■ Nhb.,1** 
which »l*o published on* or two oilier pretty sktdeta* of compcera*. 
smeng them Moserl. "Oewart’e Moeloal Anecdotes•' tmwtotot a 

ercai many useful.tart**. Tb.bUbeb.vta.wfTwwlg.Ltaet'sl.vart.. 
£pli, Is I. every one's Ibd of rami, tat—. b* bmksd up tb. 
Zo key. when be tired of prartlra; ho hrtoo th* taring, of Me 
bostrmea' plena* when they asked him ta pity. The m e book by 

tuZ Ikpper. no* In pram I-*-*** £7* 

from to* Uses of tiraat Composers, to »**d* *p wf *w«b rtarta*. 

ll w F -Tbs music of Tador England I* ta b* had la very 
smsll nutnllllcs “CheppeH’* Pnp«tor Baeta" of lb* oldwi tin*, 
contains a number wf to* folksong. Tboc. I. a aupy of It In to* 
lomos Library, New York ally, from *b«b soar co |dsd 

!in nsncll) by any vlrttnr. Tb. book to wwl *f prtal. Tta*. to a 
of W-to*|-r.'s tong, publish* by Bov all*. K*« A Oa.. 

aud " BovaUo’* «*• Hiv." ««->•- ZiTlWdZ 

■litaenih raolory lb- -7 •- * hiZZ 

ITS—r They all bora piano l* rt * eacryd 'bsgl— '“T 

LTmu .10 "by K* B.ytac. —tala. —v. wf tom 
Ztury Tlrgtari lb-k“bu b— reprttd* 

In modern notation. 

Beginner. *oold k* tongbl anbto* 
can play <vw4.^<*«*» *«»• »«— ^ ** 

tl °* „ pupils proiruds Ibsfr Uwy af. footal.ly .Hung 

1 Ibis woakd task• thsdr showMerv *U§ 

“tXZZw-M* «#«to« >» "4*BdMaatota»." Hot to* 

I ZlaZy children stlff-v, toalr shoetd— •«* »* l *-‘ 

T!„ t .J, wtlgbl of tb* band a* to. •«**•*. *bb*. tot. 
tbs) do ootrerttnv « suttaln to. fwwarw aatll. Urn tost 
lag stritli lb* key. ^ tranototvwd u, H Tb. 

fingm dMdliZtw- tb. —tow s.d to. 

wrtgbt of to* lo" gmlotag * ta—. !» to wan*—.— 

****»r, ,..l * to- of to. -d» to fee. - «- - to. 


thar. 

, « on lb* <* IW !>»•«« U 


- '^ wrn Jdmm* .. tb. . .Otarvmorv i, I--d s-.^d 
”" 7 sod baimony -Ito Pwpr-o ttn* thom»o.d 

piano with Mart* tfc. ifwt lee fogweta Iflfi *♦» US* 

I. <•)« ter harmony, and t*#nm**v «g . ,, 

Barb* Illootl," f*n,«d* epmc ' . 

taliflkltr. ' ‘ t m M. tm mUrn. 8 lb* Kiflh .T «f • 










































































































































































































































































































































































322 


Stubto Experiences. 


EXPERIENCES WITH THE PEDAU. 
HELENA MAGUIRE. 

The little girl who on sitting down to her first piece 
said : “ I could n't reach the pedal with my foot, so I 
just did like this,” and, trotting over to a fat, round 
stool, commonly called “an ottoman,” picked it up and 
dumped it down securely on the “ loud ” pedal, exem¬ 
plifying in this simple actiou the earliest conception of 
the use of the pedal. 

On being asked, But who ever mentioned pedal to you ? 
Who ever told you to use the pedal? her astonishment 
amounted almost to pity for so misguided a teacher. 
Not use the pedal? Why, what an idea ! Of course, one 
must use the pedal and keep it hard pressed down all the 
time ! 

If a pupil is not permitted to use the pedal as she 
wishes she really would rather not use it at all. Oue little 
maid had the pedal thoroughly explained to her, copied 
a simple set of rules and agreed that she quite under¬ 
stood ; but when I suggested that she would pedal as 
directed, all the time, she would hastily remove her foot, 
saying, “I think I will not use it.” It took quite a few 
lessons to make her understand that it was rather better 
to use the pedal correctly than not at all. You see, these 
things are all very well for the lesson hour, hut it is con¬ 
sidered rather fussy in a teacher to expect or to apply 
rules to one's playing all the time. 

I think the plea for “ expurgated music editions ” for 
the young a very laudable one, and agree that it might 
be as well for the feet not to be brought into use until 
the hands are well under control; but so long as there 
are pedals upon pianos, just so long will young feet find 
their way thither, and cliug thereunto even more closely 
than to a brother. So, on the whole, an early pedal drill 
is rather the better way, despite the fact that it does seem 
like overtaxing to expect our young brain to exert so 
much control over the various members of our unruly 
small body, and one is often reproached with “bicycle 
pedals are ever so much easier to manage.” 

I have found that if real pedal drill is delayed until 
maturity begins to set in, the conquering of early care¬ 
lessness and ragged, slovenly pedaling makes it doubly 
difficult. Depend upon it, the pupil is not going to 
wait the teacher's pleasure in the matter of the pedal, 
and many and grievous are the sins of pedal committed 
when the teacher is not by. 

The pedal is, incidentally, one of the best means for 
developing the faculty of listening. As no one can pro- 
dace even a short succession of musical sounds without 
having learned to listen, to anticipate, any more than one 
can strike a mark without aiming, doing first mentally the 
actual thing to be done, so the pedal is a strong agent in 
sending the thought into piano,in developing forethought, 
and in giving the senses a chance to revel in after effects.' 
Certainly, piano lessons should deal rather thoroughly 
with wbat goeth on inside the piano, curtailing, at least 
in some degree, the great amount of attention focused 
upon that end of the “jacks” which is covered with 
ivory. 

Althongh I suppose the pedal was explained to me 
when I began to use it, I have no recollection of it; all 
I knew was that it was to go down at 11 Ped.” and I 
had been “taking lessons” some time and using the 
pedal freely before it dawned upon me that the pedal 
“went up inside” the piano and did something as 
well as the keys. It was years after that what it really 
did was made clear to me, or that I understood and 
appreciated this abused “fifth leg which hangs down 
and doesn't help the piano to stand upor do anything.” 

H PASTORRIi STUDY. 

MARY K. HUGER. 

I ate, no doubt, sent her to me as an object lesson 
in patience, for she was the most perplexing pupil I ever 
knew. Until her advent into my studio I had con¬ 
sidered lack of ambition the most perplexing of student 
faults ; I did not realize that it could be possible for a 
girl of fourteen, with average intelligence, to be utterly 


THE ETUDE 

devoid of musical comprehension. “Any child cant 
learn music,” I had so often said, “ if they’re only] 
taught in the proper manner.” But by the time she 1 
left me my pretty little theory had been changed to a 
less pronounced faith in childhood. 1 

How she came to me I do not know. Certainly it 
was by some stumbling chance, for her innate awk¬ 
wardness would have prevented any well-defined purpose 
in her search for a music teacher. Her father was a 
sturdy German, a florist by trade, but Annie never wore 
any of the beautiful flowers he grew ; only the odor of 
the tobacco-reeking earth clung to her stiffly starched 
gown, and a bouquet tied to the horns of old Jersey graz¬ 
ing in the field would have appeared scarcely more 
ludicrous than a rose thrust between those two reddish- 
brown braids that adorned the back of her head. 

Oace, by way of conversation, I expressed my love of 
flowers, and the next week she brought me a bouquet. 
The little present pleased me beyond measure. It 
evinced a spirit of kindness which hitherto 1 had failed 
to perceive in her character, and I felt convinced that 
my rural pupil would yet be a musician. From that 
day I sought more eagerly to discover the responsive 
chord, which I was sure only awaited a relief from its 
moss-grown prison to vibrate with melody ; hut, ah, the 
rude awakenings, the bitter disappointments which 
time has in store for us ! 

The two most noticeable qualities in Annie’s character 
were perseverance and stupidity, and the former, it 
seemed to me, quite overbalanced the latter, for in spite 
of my most strenuous efforts to instil into her mind a 
little knowledge of the divine art, 6he persisted in her 
impenetrable ignorance ; her stupidity was truly marvel¬ 
ous. “ Do you understand now, Annie? ” I would ask, 
after a long explanation of some simple subject. She 
would make no reply, but the dull expression of her 
eyes was proof to me that my carefully worded analysis 
had been lost to her brain. 

She scarcely ever talked ; in fact, I do not remember 
ever hearing her speak other than monosyllables, and they 
were spoken grudgingly, always being replaced by a nod 
or a shake of the head when it would do as well. Her 
sullenness baffled my every attempt to interest her, and, 
had it not been for her perseverance, I would have given 
up in despair long before Idid ; but there wassomething 
so pathetic in the way she struggled on, that I had not 
the heart to discourage her. She never complained 
about anything. Week after week through the Ion® 
cold winter she came and placed her lessons much as°a 
machine that is wound with a key. Harmony and dis¬ 
cord were the same to her ears. I think even the birds 
dul not sing for her ; and so we plodded along for several 
months until at last came my reward. 

Oae day I played that beautiful little tone poem of 
Mrs. Crosby Adams, “ What the Bells Say.” 

Listen,” I said, “Annie, and try to hear the bells ” 
She listened intently for a while, and I thought I de¬ 
tected a gleam of appreciation in her face. My heart 
bounded ior joy ; at last I had touched the poetic vein 
in her nature ; my patience was rewarded. When I had 
finished playing it for the third time, I paused and 
asked, Do you hear the bells, Annie ? ” 

• ' Yea8 be replied, slowly, as if straining her 

imagination to the utmost; “ it sounds like the cow-bell 
pa tied to old Bnndle, so she would n’trunaway.” 

do h N y of these hive if your town? 

tv. F. GATES. 

The budding young pianist of the female persuasion 

Dhno Jam8 A°^ the damper Pedal 0f her unf <>rtun a te 

of her nie e V* 11)616 ^ ^ be g inni “g “> the end 
her p.ece, producing a concatenation of sounds that 

t,hl V r gr6e t0 h6r ne *8bbors as they are delec- 

teach I®"' Ut the “ H mU8 ‘ be remem bered that her 
£~b„pl„,. „ thi » „ 6t . „ M „ nmch 

bolt Vi 6 T ng lady that “ take8 ” ° f Miss Bam- 
. e, as she charges only twenty-five cents per Icon 

and lurmshes her dupes with music to boot ByTs 

“on (?/ a ° a U h ee ’ 8b6 | 8618 thfee timeS 88 much bistruc- 

r " hi - *■*» 

J ■ ltmt one of his lessons are worth 


a score of Miss Bamboozle’s cuts no fi eU re 
all music lessons are alike. ’ tor 6nrel J 

The church organist who plays his pedals as if «, 
were hot and he was afraid of burning his feet 5v 
habit is productive of such a nice legato effect and .t' 
the good taste of the player. And when he reach llT 
final chord, he closes his piece by lifting fi rst the ft 
from the pedals, then the left hand from ihe keys t 
finally the right hand. This gives such , I d 
effect of solidity to the close of his playing, theTa! 
sound m your ears be.ug the screech of the.upper ton! 
But then this organist is one of those very mnsi(:al 
geniuses who do not need to study the inst.umentwU 
some good teacher. Some people “never had any 
teacher but myself-just picked it up in odd hours you 
know.” And what teachers they do have ! Some one 
has said that the self taught man had a fool for 
teacher. 

The sight reader who gets stalled on some tune abont 
as hard as “Old Hundred.” Oh, yes, they can read 
music, are good sight readers ! But they remind one of 
the Irishman who, while claiming to read at sight, was 
found to be very deficient in this particular: “Oh, yes, 
sor r, Oi can lade at soight, but not at first soight.” Many 
a sight reader fails at “ first soight.” 

That teacher of singing who tells her pupils that the 
tones are made in their heads, not in the throats. Truly, 
this is a new location for the vocal chords. And perhaps 
this was the teacher that told her pupils that their longs 
extended no farther down than four or five inches below 
their chins. 

1 hat man with the bass voice who persists in singing 
tenor ; and the numerous alto-voiced girl who insists 
that her voice is soprano and will sing that part or noth- 
iug. There are lots ot him, but more of her. She con¬ 
siders that height of pitch is the one thing needful to 
make a good singer. What can be done with her? 

Tnat suilf of contempt given by Professor Jones when 
Professor Smith passes by. But. how can yon blame 
him when the latter advertises a great and only method 
that he has discovered to make you a musician whether 
you want to be or not. Take three homoeopathic doses 
a week, and there you are ! Do you blame Jones? 

That church choir last Sunday. What was the matter 
with it? Only economy, that’s all. An unpaid organ¬ 
ist, an unpaid choir, and music that nobody would want 
to pay for. Cheap organist, cheap choir, cheap music, 
cheap church. And some day a cheap heaven. 

And the worst of it is that the above are true pictures. 


“ TOO LiATE.” ■ 

E. A. SMITH. 

A bright boy came to me and said, “I can take les¬ 
sons upon the piano and I want to improve my chance. 
My brother, who used to take lessons, now sees the mis¬ 
take he made in not practicing better ; but his chance 
has gone, and it is now ‘ too late ’—for he can not go 
over his work again.” 

What a world of experience is crowded into those 
words, “too late.” When the day comes that young 
people will appreciate their opportunities before it is too 
late, it will be a happy- day for the teacher and a bless¬ 
ing to the pupil. 


MUSIC A STIWUIiAFT TO WORK- 

WILLIAM BENBOW. 

It is well-known to close observers that children will 
leave the most exciting game to run after a hand organ. 
Music seems to give them as pleasant an exhilaration as 
the romping game. 

A Pailadelphia contractor, who returned recently 
from the Soudan, tells of the use of music as a stimulant 
to the laborers on a new English railroad there. Wlth 
each gang of fifty men are sent out two harpers and one 
flute player. The negro workmen do not seem to ex 
perience fatigue, and unconsciously their motions cor 
respond to the rhythm of the music. And yet Ut e 
character of the music is described as sad and plaintive- 
He says it is also well known that the stevedores an J 
dockmen along our river fronts work harder and faster 
when permitted to 3 ing, and they are therefore encoor 
aged to sing. 


323 


the uninterested pupil. 


by ALFRED H. HAUSRATH. 


It must be veritable torture for the pupil of no talent, 
who possesses no ear for music, to be obliged to practice. 
These students invariably hate their teachers; hate them 
out of selt-defense, as it were. They must find some 
pretext for not caring to take lessons nor to practice, so 
they make up their minds to hate the teacher, and to 
hate him heartily. 

Stramming is the only respite they have for their ill- 
conducted labors, so they delight in strumming; and they 
take a fiendish pleasure in striking wrong notes, because 
they have found that here is a means of torturing the 
teacher. It appears that to them the playing of an in¬ 
strument is an exqu ; site torture ; and, as misery likes 
compiny, they are only happy when the teacher is made 
to feel thoroughly miserable. 

Thsse stadents look upon the teacher as their natural 
enemy. Every correction made by him is met with a 
revengeful feeling by them. 

Fingering is no object to them, nor is phrasing, nor 
rhythm, nor aay thing about ths lesson, for they have no 
object in pursuing the whole subject. 

The teacher will hear from the parents of one of these 
unmanageable children that it is necessary to drive him 
to practice. This he might quite naturally expect to be 
the case. People do not voluntarily embrace that which 
they despise; they do not rise at four in the morning for 
the sake of pursuing that which they most detest, unless 
it be lor the purpose of annihilating it. 

It is not only cruel toward the child to drive him to 
unnecessary woe, it is absolutely a sinfnl waste of time 
and energy. It the child has no soul and no ear it 
wmid ssarn he was pretty shabbily treated by Dame 
Nature. It is truly bad enough that he should be thus 
afflicted without having the fact further impressed upon 
him that ha has been carsed with crippled ears—ears as 
perfectly indifferent to discord as to harmony. 

Should we not look upon these poor creatures with 
pity, aad suggest to the guardians of such that they desist 
from their futile determination to make musical per¬ 
formers of them ? Cana blind man paint a picture, or 
an orang-outang write poetry ? The piano is not a musi¬ 
cal typewriter, that only requires a fair amount ot intel¬ 
ligence and facility to manipulate satisfactorily. The 
violin wai not designed to imitate the nocturne of the 
feline tribe. 

The sensitive ear has its hammer and anvil, like every 
other kind of ear, but the hammer and anvil are not 
formed of wrought steel, — they have their limit of 
endurance. Good teachers’ ears are generally endowed 
with a very feeble tortnral endurance. 

When a child is heard to remaik, “ I have got to take 
my old music lesson,” it may be depended upon there is 
something wrong somewhere ; either the fault lies with 
the teacher or with the parent. Yes, the parent; not so 
much with the child. The parent either forces the 
child against his will or the teacher is at fault. Then, 
again, there are pupils who really have talent, but have 
no taste for work. There are also adults in this world 
who have no desire to work ; they usually do n’t work, 
and some oue else or the community is obliged to support 
them. But this, it may be ventured, is no reason why 
children should be encouraged not to work. It they 
have taleut aad do not care to develop it, it is a case ot 
laziness, pure and simple ; such children should he 
driven unto the extreme limit. 

Parents—too many of them—only think of the duties 
of the teacher ; they forget their own. They expect him 
to attend to the child’s practicing, to teach him, to disci¬ 
pline him, get iwd keep him interested, to encourage 
him, to make a marvelous performer of him in a magic 
ally short time, and before long they will expect him to 
look after his pupil’s health. 

What does the average parent do for his son or 
daughter on this little program ? He pays for the tui 
tiou ; that presumably is enough for him ; he washes his 
hands of all the rest. 

—Little ideas and big successes never go together. 

A man of principle is a man of power. 


THE ETUDE 

CONSERVATORY AND PRIVATE TEACHING. 

Another Phase of the Subject. 

BY HENRY C. LAHEK. 


The never-ending controversy as to the respective 
merits of conservatories and private teachers naturally 
strikes the casual observer as being meiely a bid for 
business on one side or the other. There are, however, 
other thoughts to be considered besides the direct issue. 
Private teachers are numbered by thousands, while con¬ 
servatories are few in comparison ; therefore, the private 
teachers have the great advantage in the controversy of 
greater facilities for spreading their doctrine. Yet, 
with all these advantages, it is wonderful to see how 
many of their pupils go to the conservatories, niaDy of 
them by the advice of the said private teachers. 

The fact that a good conservatory provides the best 
foundation for a professional musician is beyoDd ques¬ 
tion, and is borne out by the fact that the best profes¬ 
sional musicians have almost, if not qnite, all been 
students at one time or another in one or two or moie 
conservatories. This seems to be the case more particu¬ 
larly with violinists, for whom a solid foundation of 
musical training is absolutely essential. Such excep¬ 
tions as Paganini and Ole Bull seem only to emphasize 
the statement, for Paganini was Buch a genius as the 
world rarely sees, and Ole Bull, while a man of remark¬ 
able individuality, was never regarded as a serious 
musician. 

A close investigation will disclose the fact that the 


majority of American musuians throughout the country 
have been, at one time or another, studenta at a conserva¬ 
tory, either in America or in Europe, or both. The sur¬ 
prising feature is that they are not anxious to have it 
known. It is true that the teachers in many schools 
and colleges are advertised as gradnates of this or that 
conservatory, and that some of the younger teachers 
in small towns are not ashamed of their alma mater, 
but there are hundreds of musicians in good standing in 
the United States to-day who, instead of taking pride 
in acknowledging the institution in which they received 
the most important part of their education,—viz., the 
foundation,—carefully conceal the fact that they ever 
belonged to it, or that they owe any allegiance to it. 

For this condition there are several reasons, of which 
the two, money-worship and hero-worship, are suffi¬ 
cient to account. , 

A conservatory edneation is not essential for the 
wealthy amateur ; indeed, it is very inconvenient to be 
obliged to attend a class at regular hoars and actual y 
to work. Besides this, it is necessary in a conservatory to 
take lessons of some teachers wbo are very little known 
outside the institution which profits by the excellen t 
of their work. Evidently there are potent reasons to 
prevent a conservatory from becoming a social ad. 
Now, when the teacher is attempting 

nothing can be more natural man 

.. Ob* Hrt.. ~l .1' ■'>'"« "■/"«» 

£, color. M «l.pud » ” 1,, 

£ ZlZ ; who lives by society must of necwai.y £* 

won ,d not b -2^ “;;: h d ’ h e 0DesU y B give them their 

their alumni would . ? ^ sincel heirstu- 

due credit, thong y <;0Dr8gc j, necessary, and, 

dent days. On y djting tbe tocher a jot, justice 

Wilh “ U ‘ Nor would a f»»k confession and *d~ 


^hero-worship. Everybody ^mires tl« 

body hears of him. Paderewski, ^ 
[_afi are great individualities, and are or 

ETrfli —mi— a- 

Xa-w “* * rrji« 

at once, because the great man will not 
l one who i* not already a good 


rather than to the institution. When the pupil talks, it 
is of the teacher, not of the institution, though there 
may be no desire to ignore tbe institution. But the fact 
that the teacher is employed at tbe institution ia a mere 
incident. If the teacher does good work in the institu¬ 
tion he will find that he has a connection all ready made 
when the time comes for him to leave, either voluntarily 
or involuntarily. The tearher himself care* comj ara 
lively little for tbe institution aa a whole, for he teeta 
that he dare not sacrifice himself, and be does all in hia 
power to keep his name prominent among bis pupils 
and their connections. 

The conservatories themselves recognize this fact., and 
frequently pay large salaries to noted musicians lor a 
merely nominal connection, while tbe woik is done by 
those who are conijMiratively unknown. 

It is only natural that tbe pnpil should feel drawn 
toward the individual teacher, with whom he ia in daily 
contact, rather than the mythical aam-mblage called tbe 
management, consisting of a number of strangers, who 
hold meetings, apparently in secret, and wbo are atn-o- 
Inte strangers to tbe student body, and even to the 
faculty. 

All these things go to show that the ronaervatory ia 
hampered in many ways. They do not show that the 
conservatory is nndeeirable, or that it la not doing ex¬ 
cellent work for tbe student, bat that there is the n« era- 
sity for greater breadth and liberality among non 
clans, and particularly among lboa* w bo have received 
a conservatory edneation. 

Tbe cry has been made that no great musician baa 
blosaomed forth upon tbe world direct fiom a conserva¬ 
tory. It may be answered by the statement that neither 
in America nor anywhere else ia such a thing possible. 
Ysaye, for instance, after studying in three, if not tour, 
conservatories, only earned hia position in the musical 
world by ten year*’ constant bald work—ten yesia of 
incessant playing before tbe public, daring which time 
he was able to develop tbe talent which was In him. 
This development would have been impossible without 
his con-ervatory technical training, and it would have 
lieen as marvelous for him to have come before the world 
direct from tbe conservatory a great violinist aa for a 
statesman to issue ready-made and complete fiom a 
university. Instances of a similar kind might be cited 
almost witbont end. 

Tbe conclusion to lie drawn U not that tbe private 
teacher is better than tbe conservatory, or vice versft, 
tint that there abonld be a more liberal feeling among 
musicians—lees magnilying of self and more work lor 
the good of the art and of the profession. No men are 
more generous in many respect* than musicians, and 
yet, in this country at any rate, few seem to carry pro 
feasional narrowness to a finer point. This professional 
narrowness ia in no way more clearly shown than tn 
denying to conaervatortea the credit which ia doa to 
them ; even though they may fall tar aboil of what might 
be pomible, they are doing a great work tor tbe moaical 
art of this country. 

MUSICAL •• DO NTS." 

The "London Musical Herald ” offered a prize and 
certificate for tbe heal net of twelve “ Don't* " for piao 
feta Many papers were submitted, and they prom nted 
graphically tbe vagaries of all aorta and conditions of 
pupils, veritable moaical microcosms. The prize winner, 
Mim Janet I^wron, sent tbe following: 

Don’t thomp. 

Don't begin to play uotil you are ready. 

Don’t oooot to your playing, hot pUy to joor oocnt- 

ing. . , . 

Don’t jerk yonr hand when joo put yonr thumb on 

der. 

Don't play one band after the other. 

Don’t play with yonr arm*. 

Don't keep tbe pedal down all ibe time. 

Do n’t gallop over an easy part, and then storable over 
the more diffimB. 

Don’t wgleet posture when practicing. 

Don’t no.1 yonr head when yon play an emphatic 

D °d! n't pass over a difficult bar until it ia maeterod. 

Don’t l>e late for yoor lesson. 


























































324 


vS=-?^ 




the etude 



Woman’s Work fn flRusfc. 






Edited byifanny morris smith. 


WHAT ARE MUSICAL CLUBS FOR ? 

A K ICC ENT discussion of this question by an eminent 
authority in club work leads to the odd solution that 
musical clubs are or should be promoters of the study 
of orchestral music and cooperators in the maintenance 
of the nearest orchestral organization, because sym¬ 
phonies and sonatas are the highest forms of musical 
composition. 

The point to which we take exception is the state¬ 
ment that the sonata form is the highest type of com¬ 
position. 

Why is it? 

Literature offers poetry and prose, novels and 
dramas, lyrics and sonnets, ballads and orations, 
biographies and satires. So does music exist in strictly 
kindred forms. No one would say that a novel in three 
vol nmes is a higher art form than a sonnet in fourteen 
lines ; neither is a sonata in three movements a higher 
art form than a nocturne by Field or a ballad by Chopin. 
It is a more complex form; its dramatic content is 
equivalent to that of a musical novel or a play. But 
novels and dramas are not greater than the simple 
forms in which the genius of Wordsworth found ample 
room, or the polished art with which a Rosetti molded 
the passion of centuries into a sonnet. 

It is worth a great deal to be familiar with the great 
orchestral scores; so it is with those of the great 
masses and oratories. But orchestral culture is equi¬ 
valent to that point reached in a literary education 
ere the college student “buries analytics.” There is 
a great deal to do before one gets to that. 

The object of a musical club should be to create a home 
and a home atmosphere of music for its own corporate life. 
What is a musical atmosphere? 

One where people are thinking about music, loving it, 
and entering into possession of its artistic treasures in 
emotion and memory. It is not the business of a club to 
get music into its members, but to get its members 
into music-that is, into the possession and enjoyment 
of music. To incite them to assimilate what has been 
created and to reproduce it by interpretation is good, 
but the final step is to enjoy it. 

This is not to be done by struggling with complex 
and artificial forms, but by beginning at the precise 
point where taste and pleasure are most quick and 
vivid and enjoying to the full, and then passing onward 
in the direction of one’s keenest liking. Only thus can 
musical memory and imagination be fed. 

The question of interpretation should be decided on 
the same grounds. Let each member of the club 
choose the music she really enjoys most and play it, not 
as she thinks it ought to be played, but as she secretly 
wishes it should be played. Thereby she expresses her 
own individuality and is in that respect an artist. If 
twenty people in one club were to play the same piece,— 
to do it artistically it should receive twenty different in¬ 
terpretations, and the most direct and individual would 
be the best. 

Granted that these matters go forward artistically, 
what else are women’s music clubs for? To administer 
the affairs of music with grace, propriety and certainty. 
They are not for the development of incisiveness, diplom¬ 
acy, shrewdness, social competition and home politics. 
Women should touch nothing that they do not adorn! 

The club is their arena for the display of the graces of 
heart, mind and character. “Art is a man’s path to 
his work.” That path to one’s work it is the mission 
of womanhood to make beautiful. The very starting 
point of club life is its opportunity to exhibit the perfec¬ 


tion of social intercourse in a common pursuit. This 
achieved, the elevation of musical taste in the commun¬ 
ity will follow of itself. 

The request for book lists for club libraries has brought 
out the fact that the books which appear to be of most use 
to Americans have been written by Americans. Up to 
this point the contestants seem to depend exclusively on 
home production for their musical life. Why, it is not 
difficult to imagine. People buy books that are called 
to their attention ; and of these, books that in some way 
touch their pleasures or business. Thus the determina¬ 
tion with which the American public has been instructed 
that music to be good must he heavy, serious, and cul¬ 
tivated by painful self-discipline, shows itself in the 
quality and subjects of the books people purchase on 
music. America has yet to learn much of the “gay 
science ” of music. 

Now, with all due respect to the music of woe, there 
is a close relationship between its geographical bounda¬ 
ries and those which include the extensive consumption 
of lager beer. We would not be misconstrued into argu¬ 
ing that grief and malt liquor go hand in hand—this is 
not a temperance page—but there is a marked increase 
of sparkle, lightness, and gaiety in the music produced in 
the lands of the vine, olive, and fig. 

And it is astonishing how very little in this music 
finds its way into American consumption. One winter 
a pupil came to the writer with the statement that there 
was so much grief in her home that she must refuse all 
music that dwelt on the sorrowful side of the emotional 
bfe; but she wished to study. Then ensued a search 
for cheerful pieces, written in good taste and form. After 
the first half dozen it proved almost impossible to find 
them. Such as they were came almost exclusively from 
France and Italy. 

Surely a music that dwells exclusively in the painful 
emotions cultivated by a cheerful, happy, energetic peo¬ 
ple is foreign to its instincts, and morbid in tendency. 

We are very much worse in respect to this abnormal 
pursuit of gnef than are the Continental nations them¬ 
selves. A glance at the operas to be given in the best 
European opera houses reveals that Mozart, Meyerbeer 
Rossini Flotow and Auber, Bellini and Verdi receive 
impartial consideration in lists adorned with the names 
of Mascagni, Humperdinck and Wagner. It is only in 

rr The A 18 bad f ° rm ^ eDj0y any mU8iC «“Pt 
classic The American operas that people have of late 

years heard for pleasure in New York, but always with 

a deprecative, “Of course I know it’s light,” found a 

cordial welcome on German and Austrian soil. A year 

doln rM a “ ,? erettaS ’ Prima donDas “<1 soloists, even 
down to Mrs. Shaw, the whistler, were all making suc- 

“ “ ln the ver T Places which Americans look 

to as their Mecca and Modena. Not a note of this breathes 
in American literature. Whatever fickleness there may 

-aTsnin or affections, our literature is solid 
as solid as pound-cake. 


Consider, a trip from New York to Chicago costs ati 
sixty-five dollars in carfares and hotel bills a ^ 
club can a fford to pay the artist of its choice for his seuT 8 
the time consumed in going and coming and th 
penses of his instrument. This easily runs into t,** 
dreds of dollars for one night. Suppose, however that 
the clubs on the line of travel arrange six evening 
the artist going and coming. He can spare a week if h 
can make the trip at all. The traveling expenses ,7 
divided between the seven clubs ; the price to the club in 
the musical center is largely decreased, and all th. 
small clubs obtain “ way trip prices.” This is a sort 
of cooperation that clubs can not enter on a day too 
soon, for the central bureau, which must of necessity be 
some metropolitan club, immediately obtains the choice 
of very fine artists. There are numbers of delightful 
pianists and violinists in New York that would gladly 
make a tour, who can not afford to leave the city for one 
evening at any possible price. 

What the musical clubs need is to hear playing and a 
great deal of it. Much hearing of playing utterly 
changes the critical standpoint. At first the concert- 
goer demands that all interpretation shall express his 
own personal individuality; when he has become cul¬ 
tured he prefers to acquaint himself with the differing 
personalities of original musicians. 


The formation of artists’ bureaus in the most nromi 
”"t *•"’">»»'. rrcSal ctab. 

lk «<l»«oa of biinginggood joloi.t,before bodiL 

T r 100 f " '• *o import 

If e?nh T centers where they congregate 

LsfinJh - three ° r fonr Private musical even! 
mgs filled by singing, piano recitals, or even concerted 
and chamber music, choose to make their T Conceited 


Thebe is no position in which a woman may shine 
more than in the conduct of parliamentary debate; and 
we know of no subject in which feminine habits of argu¬ 
ment work more complete havoc. To manage a club 
debate with ease and good results it is absolutely neces¬ 
sary to work under parliamentary rules. Even the 
small details of rising and sitting, if not observed by the 
chair, presently introduce an element of cpnfusion which 
works its mischievous result. This is the month when 
clubs have occasion to debate many things; even old, 
well-disciplined societies find it convenient to possess a 
parliamentarian among their members, who sits next the 
president and assists her in the intricacies of procedure 
and common law questions which often arise. How 
much more needful a mind refreshed by a review of 
parliamentary usage must be for young clubs just 
essaying the depths and shallows of concerted action. 
A review of the questions below, taken at random from 
Miss Fielde's new book on “Parliamentary Procedure,” 
will demonstrate our position : 

What distinguishes a main question from all other 
questions ? 

Under what circumstances may the Chair properly re¬ 
fuse to state a main question ? 

What redress has the assembly if the Chair abuse his 
power, or use it in the service of a faction ? 

Does the seconder get the floor? 

After a main question has been introduced, how can 
it be removed from before the assembly ? 

Is there any difference between a unanimous vote and 
a vote by general consent? 

What does the Chair say in taking a vote by acclama¬ 
tion ? 

What is a division of the house, and how may it be 
accomplished? 

If the Chair votes when there is a tie, on which side 
does the Chair vote ? 

Can a vote by ayes and nays be reconsidered ? 

Mention nine methods of voting, and state under wbat 
circumstances each would be expedient. 

If there were a tie in a vote taken by ballot, would the 
Chair then have a casting vote ? 

May a vote by ballot be reconsidered ? 

Mention votes that would be a tie and votes that show 
a majority of one. 

When a vote is a tie is the motion carried or lost? 

Is every member required to vote? How many ques¬ 
tions are there that are permitted to interrr pt a speaker 
to whom the floor has been given ? 

How many ways are there of permanently getting rid 
of the main question other than by a direct negative 
vote upon it ? 

How long may the first speaker in debate continue to 
speak before the question of consideration becomes in¬ 
admissible? 


326 


THE ETUDE 


What justifies an assembly’s refusal to consider a 
question properly introduced and not in conflict with its 

rules? 

What is the difference between a meeting and a 

session ? 

How many times can a question be laid on the table 
and then taken up? 

Is a motion to suspend a rule in order when a previous 
question is pending? 

What does the Chair say when taking a vote on the 
previous question ? 

May a question be divided after debate upon it is 
closed ? 

What is the rank of a call for the order of the day ? 

To what extent is the motion to refer to a committee 
debatable ? 

Who acts as secretary in Committee of the Whole? 

When a committee first makes its report,who is first 
entitled to the floor in debate ? 

How many times may a proposition be amended? 
How many times may an amendment be amended ? 

What privileged questions may be introduced when 
an amendment is pending ? 

There are five hundred questions in the “Quiz,” from 
which these questions are taken at random, not a quarter 
of which can be answered from a simple acquaintance 
with good manners. Parliamentary procedure is a set 
of rules which have obtained the common consent of de¬ 
liberative bodies, because systematic and invariable 
adherence to a known routine of procedure is necessary 
to make their transactions legal. There is not a ques¬ 
tion among those cited the ignorance of which would 
not make utter confusion in club meetings. Ignorance 
of the difference between a meeting and a session has 
been known to bring half a dozen ladies of mature age 
to tears as a result of their transactions. What the 
Chair says or does not say determines the legality of 
the decisions based thereon. How to shut off debate, 
how to prevent women from interrupting, how to pre¬ 
vent a dozen from speaking at once, how to shut off 
personalities and personal explanations, how to obtain 
a fair ballot, how to get a club to carry out what it has 
voted to do, how to become one corporate body instead 
of numberless warring interests,—these are matters 
that it behooves every woman who joins a club to learn 
at once. And from personal experience the book from 
which the above questions have been culled can not be 
too highly recommended. 

The Women's Philharmonic Society of New York is 
now considering the question of its proper housing for 
the season. The various sections have already com¬ 
menced their organization. One of the most vigorous of 
these is the Woman’s Philharmonic Society Orchestra, 
which was successfully inaugurated last season by Jean 
Franko. This section is already getting ready for its 
concert season, and will be in shape to accept engage¬ 
ments by the first of December. Jean Franko, whose 
brothers, Sam. and Nahan Franko, are well known 
in orchestral circles as conductors and orchestra conceit- 
mekters, is a favorite metropolitan violinist. Her suc¬ 
cess with her present organization, which she formed 
late last winter, has already been remarkable. 

MUSICAL CLUBS IN SMALL TOWNS. 

“There is one principle that must be strictly adhered 
to in any successful village musical society : there must 
he no drones,” writes Frank Waldo in an article on 

Music in the Village,” in the September “ Ladies 
Home Journal.” “The instant that any one is ad¬ 
mitted to membership on any other grounds than ability, 
the decline of the society has begun. Regular attend¬ 
ance can be secured only by arousing the enthusiasm of 
fhe members. 

Tile one word that expresses the possibilities of con¬ 
certed instrumental music for the village is orchestra. 
This word, while rather pretentious in sound, may have 
an extremely humble application. Orchestra is men¬ 
tioned as opposed to band ; the orchestra, being in¬ 
tended for indoor practice, is capable of exerting a most 
refining influence. 

It is to chorus work that the vocal energies of the 


singers of the town must be mainly devoted, and it is 
best to assume a high stand from the outset, and estab¬ 
lish an ‘oratorio society,’ rather than a ‘chorus’ or 
choral club.’ For this purpose a well-balanced group 
of thirty or forty voices is sufficient if it is composed of 
members who can really sing. A small chorus of unex¬ 
pected volume of tone is much more effective than a 
large one with a disappointing volume. 

“It may be just as well to call attention to the fact 
that the larger musical emporiums, especially those in 
Boston, New York, Philadelphia, and Chicago, are 
al ways ready to give advice and assistance in the selection 
of music where the members of clubs, individually or 
collectively, do not know just what is best for their pur¬ 
pose.” * 


A FEW suggestions, based on long and sad experience, 
as to the way to make artists comfortable, may not come 
amiss to clubs that intend to give concerts and recitals 
this season. 

The writer well remembers the dinners refused with 
bitterness, the proffered social courtesies accepted and 
then slipped out of, that resulted from well-meant efforts 
to be polite to the musicians that first graced her musical 
functions. It was not until after more than one unpleas¬ 
ant experience that the fact become clear that foreign 
musical artists are, as a rule, abnormally shy, and fear a 
social occasion more than they fear the cannon’s mouth. 
To dine first and then play the piano is, in their eyee, an 
unthinkable proceeding. In the first place, they need 
quiet to prepare for the effort to meet aDd bold their 
audience. In the second place, foreign musicians have 
not the remotest conception that honest good-will and 
personal liking may grow out of such ordeals. They 
imagine that they are asked as a show, misunderstand 
the motive, are sensitive about the differences between 
our table etiquette and their own, and generally miser¬ 
able. 

If you wish to entertain an artist and make him per¬ 
fectly happy, include the proviso in the invitation that 
music shall not be mentioned. The chances are that be 
'will play of himself. 

If it is possible, do not entertain an artist who ia 
engaged to play or sing before a club at a private house ; 
even if the hotel be very poor, he will I* more com¬ 
fortable alone, and not under the necessity of exerting 


fler the concert, compliments, calls, visits are in 
r. The artist then longs for approbation. He is 
ted tired, and really desirous to learn his success in 
ing his audience. Whatever can 1* done to assure 
of his complete triumph is gratefully received, 
ren ladies are more comfortable at a hotel than aa 
ts of the most charming establishment. Singers 
live in the concert season on a diet are particularly 
cult to entertain. The musical life is a life apart 
, that of the world at large ; it ia a kind of priest- 
l and not the least of it* self denials is in the sepa 
m it brings from human interests and coatomary 
,ts as they are held by mankind at large. 
a these fines are concluded, the fact that American 
ists usually dine, American singers sometimes dine, 


iL FEDERATION OF MUSICAL CLUBS 

eeting of the Executive Committee of the 
Federation of Musical Clubs, held recently m 
b« resulted in many plans which »rerapidly 
n t0 the ninety federated clubs, thereby beue- 

Bopid*. Midjfc*, F-i 

e Federation, chairman; Mrs. * H. 

Ohio, first vice president; and Miss Helen 
' Akron Ohio, a director of the Northern Mid 
constitute the personnel of the commute*. 
*’ _Phirazo. Illinois, vice prem 


Ellison, Fort Wayne, Indiana, recording secretary, was 
appointed press committee. 

Any action of Miss Helen A. Storer, as artist com¬ 
mittee, is fully indorsed by the board of management. 

This work ia purely altruistic, no commission being 
asked from either artist or club. 

All artists aud managers wishing to reach the federated 
clubs can do so through this committee. A notable 
benefit to be gained by both dubs and artists ia in the 
elimination of unnecessary expense through the arrange¬ 
ment of dates and carefully planned routes. 

Miss Storer has arranged many dates for this eeuon 
with artists for clubs. 

Mrs. John Curran, Englewood, New Jersey, vice 
president of the Eastern section, is attending to tbe offi¬ 
cial duties of Mrs. James 1‘ederaen, corresponding sec¬ 
retary, who has gone abroad. 

The “ Biennial Proceedings,” consisting of programs, 
minutes, reports, papers, and also of list of dobe, libra¬ 
rian’s catalogue of music, suggestions for r!nha, contain¬ 
ing constitution and by-laws, are in the bands of tbe 
printing committee for immediate distribution to all 
federated clubs. 

Extra copies may be obtained at moderate oast by 
sending to the chairman of tbe printing committee, 
Mrs. Philip N. Moore, 1620 Mississippi Avenue, St. 
Louis, Missouri. 

* 

“The American Musical Club Directory," 1899, pub¬ 
lished by C. Fletcher King, 6 E. Fourteenth Ht., New 
York, fills a long-felt want, and deserves tbe reception 
its certain usefulness will insure it. 

The distribution of musical clubs throughout the 
country is suggestive. Alabama records 4; Arizona, 
1; Arkansas, 2 ; California, 20 ; Connecticut records 18, 
but there are several existing not included. There 
is 1 in Idaho, 42 in Illinois, 14 in Indiana, 14 in Iowa, 
10 in Kansas, 12 in Maine, 35 in Maasachusetta, 13 la 
Missouri, 30 in New Jersey. New York records 116 
(this list is only partially complete). Pennsylvania 
records 41 ; Texas, 12 ; Utah, 1 ; Vermont. 2 ; Washing 
ton (State), 7 ; Wisconsin, 14 ; and the other Slates in 
relative proportiona The odd thing about it U that tbe 
clnbahlcneas of each State and tbe readers of The 
Etuiuc which it contains maintain an exact ratio. We 
can not help suspecting that the work for music which 
The Etude has done for sixteen years has had some¬ 
thing to do with the musical life indicated by "Tbe 
American Musical Club Directory.” 


The Woman’s Musical and Literary Study Clob, of 
Bayonne, N. J., which baa been nolieed Inf or* in theae 
columns, offers the following attractive plan of study 
for the year: 

Grass* t StrutCT roe rut True MwMstnof Frtan*. 

Atp-No. », Haydn; Sytapbony story i Adagio. All*- 
sroAaral; Largof'antsblls; Mltu.tio, Trio; Finals 

Parly Preach School, lMe-IWt-tasty* " Jospin da ItW," 

Jsje'M$. — Eaaaya: •• Lrjrtma," ••Ooudirset 

Frmeh S hml, fcwsnlaootta Oratory.-Bass y “ LolU. “ Hs- 
maau"; story of thaopera ”<a«l«r and Pottos." 

Kynphcry Day.-Vc. *. Motarl; Symphon) Story; Adatlo. Alla- 
-ro; Andante; Nlnu-tlo. Trio, Heals. 

Ifrtwh fkM, Eighteen Hi Oratory- lUsay. t " trior*/'" M<d>»V 


i, lt 7 F-ll*l—K**aya “ twiddles." ** Anbsr" ; story *f 

1 Ma«ani»ll 

7»8- ISiX-Kway*! ” BaM-vy," “ Horold • , story of apara 

y Day .- 60 2, R*»0»»en , Oy«ajd.oay Story . Ada*K 
rbrrro; Iarsth*’to; fins)*. 

ir, ITft-lhdt.-Eaaara i ” Mrysrlraw"; Wory of lh* op«M 
iiomiU." _ 

lglMML -Essays "Gounod.” •'Aiobroiw TVmuu ; 
ora” Faust” 

moS._Ea.aya: •' Itrrlto*." " halot-Far-na" 
v Diy.-so H, Hrtitiart; Sjetpbeey Sleey; Altsure 
AndanU-con toot* 

|*.-Ea»ayt: «• Biaat,” ‘ Mraaraalstory of li* opera 

It 

STL—Essays: “ Royer,* “haMM*; story of «f*r» 


IS - l>.a}» : •' Godard,” " CbaoUnad* ” 
Day.-Vo. 1. Scbuta.na ; Fytapboey Ft. 
lantn; lento, AH**v« Float*. 


MWfn 














































































326 


THE ETUDE 



©rgan anb Cboir 



will more readily command the attention and respect of 
the choir than the amateur. 

It is often found that the professional musician is not 
a very easy man to get on with. As the writer already 
quoted said, he keeps a very jealous eye on the clergy 
and is unduly sensitive about what he considers en' 
croaehment. Without entering upon the question of 


EDITED BY EVERETT E. TRUETTE. 


THE ORGAN AND ITS PROGRESS. 

It is always interesting to watch the progress of inven¬ 
tions of every kind. The steady march of discovery, of 
investigation and invention, is in the spirit of the age, 
and the United States now stands foremost among the 
inventive nations of the globe. 

To the musician, whether artist or amateur, the 
invention and manufacture of musical instruments has 
a peculiar charm. If we glance hack to the ancient 
times, we must perceive the vast strides made since the 
musicians described by Virgil “practiced their wood¬ 
land lays upon a slender oaten pipe, and taught the 
woodlands to resound, fair Amarylis.” 

The reed has not lost its place as a factor of musical 
instruments. Oa the contrary, it continues to suggest 
new musical effects and to add to the possibilities of 
modern invention. It was the reed and other simple 
things found in nature that suggested many of the 
early efforts to produce musical instruments Mythology 
and tradition is full of the quaint stories, and they have 
done good service in illustrating and illuminating the 
history of music itself. But the greatest achievements 
to which the reed or the “oaten pipe” has led is the 
“king of instruments” of to-day—the organ, in its 
many forms and capacities. In all the range of music 
it is not possible to imagine a combination of instru¬ 
ments more inspiring, or with such endless possibilities 
of shade and expression, than the organ in its higher 
development. And the organ has been a noble instru¬ 
ment since the fifteenth century, and in the seven¬ 
teenth and eighteenth centuries Germany, England, 
Holland, and France made many splendid organs. 

The organ had long since been introduced into the 
church, and the church was the great patron of the in¬ 
strument until the Puritans, with their superstitious 
ideas, condemned it, and the church organs were 
destroyed or removed from all England. After the 
Restoration the organ emerged from its hiding-places, 
and once more organ building began in England, and as 
the building went on, improvements were made. The 
inventive brain, the great source from whence emanate 
all inventions, was surely and silently at work develop¬ 
ing plans to overcome difficulties and to enlarge the 
power of the grand instrument. The new world caught 
the infection, and an organ found its way across the 
ocean, but superstition and blind prejudice greeted its 
arrival, and the musical wanderer was not a welcome 
guest among the Pilgrim Fathers. 

The little organ, after changing hands several times, 
was finally incorporated into a larger and more modern 
instrument. But the Americans did not long rest con¬ 
tent with importing organs from abroad. The inventive 
spirit was too deeply rooted in their nature, and as the 
prejudices against the organ began to die out, the organ 
builders began to be on the alert. Self-taught at first, 
they showed surprising ingenuity. The inside of a few 
English organs had been studied for a while when Amer¬ 
ican organs of surprising tone began to appear, as the 
resalt of patience, ingenuity, and observation. 

The American organ encountered the hardships and 
struggles for recognition similar to the pioneers of the 
country. It endured persecutions, it was forced to stem 
the tide of adversity, and even the hardships of war, 
for the pipes of the first organs daring the Revolution¬ 
ary War were converted into bullets. It seems to be a 
persecuted instrument, and like all other objects of per¬ 
secution, it appeared all the more to thrive. The United 
States was very soon able to hold its own, and to be in¬ 
dependent of foreign organs. Organ builders sprang 
up, and their factories in time supplied employment to 


thousands of workmen, until to-day the world acknowl¬ 
edges their superiority and affords a ready market. 

The manufacturer is one of the greatest benefactors 
to mankind. He has an indissoluble partnership with 
the inventor, whose factory is his brain and who turns 
over the contents of his workshop to the manufacturer, 
who puts into tangible shape and form his invisible cre¬ 
ations. Step by step the inventor formed the organ and 
the manufacturer gave it forth to the world, and the 
steps taken to bring the organ to its present state of per¬ 
fection would form almost a history in itself. 

Like most great inventions, the first inventor is out¬ 
stripped by those who are fortunate enough to bring in¬ 
vention into practical use, and after many improvements 
place it before the world in all the glory of great invent¬ 
ors, while the modest first originator is lost in obscurity, 
almost. It is not strange that it should be so, for most 
inventions were at first but little more than playthings, 
and of no service to a utilitarian age till many improve¬ 
ments were made and the originators were dead and lost 
in the sea of oblivion. 

Seldom have real inventors—those in whose brains the 
first idea of the invention was conceived—made money 
the goal of their ambition ; money was only regarded 
as a means to an end which was to bring into existence 
the creations of their imagination. That was the goal 
they strove to reach. Those who had the sagacity to 
see that the ingenious brain productions might be con¬ 
verted into something useful—in other words, to use a 
common phrase, that there was money in it—were, and 
still are, the ones who get the credit. While the first 
inventor of the organ is lost to history, we have with us 
even now the inventors to whose genius is due the latest 
steps in organ manufacture as well as many whose 
genius has added to the power, the sweetness, the last 
touch and finish, by which the king of instiuments is 
adapted to popular use, and even in a measure made a 
member of the musical household and home.— Exchange. 

THE AMATEUR ORGANIST. 

BY ONE. 

The grievances of organists appear to be many, and 
a writer in the “ Musical Standard ” recently attempted 
to deal with some of them. He partially succeeded in 
proving on what an unsubstantial basis many of them 
rested ; but, unfortunately, he assumed that he had 
dealt with them all when he summed them up under 
the two heads of insecurity of tenure and the interfer¬ 
ence of incompetent persons. There is, however, another 
and a very serious one, and that is amateur competition. 
The amateur does not seriously prejudice the profes¬ 
sional as far as his teaching is concerned, but he se¬ 
cures organistships and other prizes. 

The professional man has to live, and can not pick 

and choose, but has to accept such a post as he can get_ 

and therefore is quite prepared to play the organ either 
in a Non conformist chapel or an Anglican church. 

But when an amateur is selected, it will nearly always 
be found that he is in full sympathy with the religious 

views of the congregation concerned. 

Almost invariably the post of organist is associated 
with that of choirmaster, and from the latter point of 
view probably the profeesional man shows to more ad¬ 
vantage than the amateur. Choir-training is only a 
particular department of teaching, and it is teaching 
which defines the professional. Moreover, a successful 
teacher has to be specially trained, and, if the choir be 
a voluntary one, he needs to be specially giittd as well. 
Now, it must be admitted that the professional man 


who is to blame when relations become strained, it will 
be admitted that it is eminently desirable that harmony 
should characterize the relations of the clergy gt a ]] 8 
with the organ loft, and such harmony is less likely to 
be disturbed when the occnpant of the latter is an ama¬ 
teur. He has not such finely strung feelings and, in a 
word, is not so touchy upon matters of etiquette. The 
writer remembers his attempts to get up a choral festi¬ 
val some years ago, in which it was proposed that 
neighboring choirs should unite. 

It never got so far as the first rehearsal. It was neces¬ 
sary to select a conductor from among the several organ¬ 
ists concerned. All were equally qualified from a merely 
technical point of view. A had the advantage in point 
of years, but then B was an F. C. 0. ; C was the senior 
organist in the district and had the biggest organ, but, 
unhappily, he eked out his income by keeping a music 
shop. Finally the writer proposed to solve the difficulty 
by conducting himself, whereupon the organist said he 
had never yet played under an amateur conductor and 
was not going to begin then—and so the whole thing 
dropped. 

At all events the amateur organist has come to stay 
and has to be reckoned with. So long as conservatories 
and academies and schools and colleges of music, not to 
mention the great army of private teachers—so long as 
these are turning out accomplished organists bv the 
score daily, so long amateur competition will flourish. 

In fact, what does an amateur want to learn the organ 
at all for, unless it is for the purpose of Borne day 
occupying an organ stool ? An organ is an instrument 
not usually to be met with in a private house, and there¬ 
fore the average organ pupil is not learning io play 
simply for his own private delectation. We repeat, then, 
the amateur organist has come to stay, and none of the 
ordinary methods of dealing with unlicensed intruders 
can serve the purpose of the profession. 

In the various handicrafts the corresponding situation 
would be effectively dealt with by methods which would 
be singularly ineffective if employed by the musical 
profession. The various trades unions practically mo¬ 
nopolize the cream of the labor market, and the em¬ 
ployer who offended them would have to content himself 
with very inferior service. But a guild of organists 
would not monopolize the best performers, because, as 
we have already pointed out, the profession is daily en¬ 
gaged in making the amateur as efficient as good teach¬ 
ing can make him. 

The amateur, then, must be competed with on his 
merits, if the profession does not wish to be ejected from 
the organ loft altogether. 

None of the methods hitherto adopted will serve the 
purpose. It is no use to grumble about salaries. Sal¬ 
aries have a habit of finding their own level, and the best 
man will always command the best price. The profes¬ 
sional man must not be so thin-skinned as he has 
hitherto been. He is very fond of using the newspapers 
to make comparisons between himself and his vicar, aDd 
magnifies every fancied slight until it assumes the pro 
portions of a substantial grievance. Herein the amateur 
has a distinct score, his conception of the relations be 
tween himself and his vicar being a very much more 
accurate one. 

Lastly, there is something more than good plsym? 
and efficient choir-training required to make a g 
church organist, and it is something which both amateu^ 
and professional need to study.—“ London Musi 
Standard .” 

MIXTURES. 

Mr. Horatio W. Parker, Professor of Music a| 
Yale University, delivered a lecture on “ Church 
at the Peabody Institute, in Baltimore, some time 
Some of his remaiks were particularly forceful, an 
may interest our readers. He considers cosgi‘S 


1 oimrinu "when the tunes are worth singing as the 
important part of the musical service. “The 
tatement that 1 the devil has all the best music’ is a 
*.infal confession for a churchman to make, and is un- 
™ „ Every one agrees with him when he 

laments the introduction of secular arrangements. 

The day for such monstrosities as singing ‘Jesus Lover 
f My Soul ’ to the tune of ‘ When the Swallows Home- 
°ard Fly’ is past ” He considers one of the worst 
features of religious music to be the Moody and Sankey 
hymns and recommends “an increase of the number of 
efficient church choirs,” with all singers well paid, re¬ 
quiring the members to work harder. 

THE following is from the “ Alumni Annual,” a 
periodical published once a year by the Alumni Asso¬ 
ciation of the New England Conservatory of Music: 

“ The 1 Annual ’ can tell a good story now and then, 
and the following has the merit of being true in every 
particular: 

“A young lady organ student living outside the 
Home used to practice in a church near by, generally tak¬ 
ing along, for the sake of compauionship, a large mastiff 
named Rover. Rover was a dog of profound discernment, 
and the young lady came to look upon him as a critic of 
no mean order. Bach’s fugues, no matter how horribly 
performed, caused him to exhibit the blandest satisfac¬ 
tion,—he rarely moved a muscle until the final note. 
Rink’s ‘God Save the Queen,’ rushed through semi- 
occasionally, just to see how it seemed to play something 
jing'y, produced absolute indifference, and frequently 
a most disrespectful canine snore would smite the ear, 
proving that Rover did n’t think it worth his while to 
keep awake. 

“But Batiste’s D-minor offertory was too much for 
him. Those howls ! They ring in the ears yet. The 
walls echoed with them, and the rafters rang. With his 
head upraised, and his huge black jaws apart and point¬ 
ing skyward, he poured forth his distracted wail until 
nothing but summarily turning him out would avail to 
quiet him. 

“ Some evolutionist may explain the phenomenon, 
a keenly musical soul caught in its transition from the 
Anywhere to the Here, and imprisoned within that 
tawny coat. But who shall say ? ” 

THE MUSIC COMMITTEE. 

J. FRANCIS COOKE, M. B. 

Nowadays one doe 3 not have to preach the value of 
gwd music in church work, as did Lowell M ison and his 
contemporaries. The days of the “ musical missionary ” 
are ended as far as continental United States is con¬ 
cerned. There was a time when people said : “Music 
is an indispensable part of the Episcopal and Catholic 
services, and occasionally a veTy pleasant feature in the 
meetings of dissenting churches.” Much of this came 
from the descendants of a community who very proudly 
maligned many musicians for desecrating the Psalms 
with music. 

Among many of our dissenting American churches 
there is still a feeling that anything more thin the staid 
old hymn tunes of Holden and some of the old English 
hymuists isnotto be considered a part of the service, but 
as rather agreeable ornament, much as upholstered pews 
were looked upon among those who had learned to wor¬ 
ship sitting on high backed benches. This feeling is by 
no means confined to country churches, but exists in 
many of the large metropolitan congregations. They, 
very righteously, refusing to allow others to determine 
what is good or bad in music, are very often at sea in a 
bark of contention that is sometimes wrecked upon the 
ever-present rocks of dissension. The taste of one mem 
her may be exactly opposite to that of another. Both 
maybe good, though one ideal is better suited to the form 
of service than that of his fellow-worshiper. The great 
difficulty exists in diplomatically bringing together 
these opposing factions. We are all inclined to pro¬ 
nounce that which suits our individual taste as that 
*hich is best. Very few look to the choir loft for a 
message of truth, bnt rather to listen to something that 
effects the emotions Onr singers should all be ministers 
ol mi iaic iu sympathy with divine truth, and as eloquent 


THE ETUDE 

in its expression as the preacher in the pulpit. It is 
not enough that they should be singers; they should be 
teachers, elevating, Sunday by Sunday, the musical in¬ 
telligence of the congregation. 

Musicians are often employed by churches who are 
as much out of place in the sanctuary as were the ribald 
minstrels who furnished music in the churches during 
the Middle Ages. No upright person should receive pay 
from a congregation, no matter of what creed, unless he 
felt himself in sympathy with the service. It is simply 
a question of whether the music is an essential or super¬ 
numerary part of the ritual. There is no getting away 
from it, and the singer who sings sacred songs, pretend¬ 
ing to believe in them when he does not, is a swindler, 
simply because he is obtaining money under false pre¬ 
tenses. 

In one of our large American churches two solo singers 
stood side by side for two years past—one a known 
reprobate ; the other, while a charming gentleman, was 
a pronounced agnostic. The incongruity of these two 
men singing in a house of God was as surprising as that 
of the money changers in the Temple. They neverthe¬ 
less drew yearly salaries from the church amounting to 
over two thousand dollars. 

Now, we are often asked, What can be done to im¬ 
prove the taste of this or that body of people? How 
are persons who for years have heard the “non-har 
monic ” music of a camp-meeting nature to be brought 
to understand that when once accustomed to music of a 
higher order they will receive a much more noble tonal 
interpretation of the sacred text? Can the organist pre¬ 
pare a graded course of church music and lead the con 
gregation during the year from worthless unmusical 
trash to the priceless riches of fine church music? (’an 
he alone convert the prejudices, original and cultivated, 
of five hundred or more people and reveal to them that 
the music they possibly “appreciate ” is comparatively 
as meaningless as the novels that fill the pages of the 
mawkish weekly story papers? The task is obviously 
too great for any one even to assnme, even with the as¬ 
sistance of a competent and enthusiastic choir. Re¬ 
member, it is our purpose to strive to improve the taste 
of our people in the line of fine church music rather 
than to teach them to enjoy a Bach fugue or a Couperin 
prelude or musico-mathematical problems. Many peopto 
who would oppose the hanging of chromes of matt 
groups on church walls applaud and even glory in .n- 
appropriate caricatures of hymn-tunes that are often 
set to someof our most beautiful bymn-poenm. 

If not to the organist, pray to whom should we look 
for this reform that every intelligent churchman will 

idmU is all-important? The music 

fore have been supposed to engage the organist* and 

soloists, pay for the ^ 

° rga “- t^otenttonaBy —-al^the responsibility upon the 
haps not intentional y . Md constitute 

a church musical socie y, j, ,i,ou)d 

and supporting the orp: ‘“’® and care f u || y review the 

as it were, congregation or choir. To 

i3t aDd -eTal music committee should consist of at 

my mind,the idea . broadminded men 

least fifteen C “ U °[ 1^,, , ke en insight into human 

and "omen, who «1 V, placlD(s »„ ia t«ur or ex¬ 
nature. It 18 oft « n b committee, as they 

Pro rlt m hrrasX migbt be at variance With 
are liable to h director and cause much 

the plans of the bnt worthy project*. 

trouble by opposing misnnde^b ^ ^ ^ g 

Some congregations nD ,^, it hM the local 

music committee is n aD ,ong its member*. An or- 

virtuoso or pnma o tbat he would much 

gauist remarked a shor^^ c of mechanics 

rather deal wi disappointed genuisea." There is 
than one composed of l organirt 0 r choir- 

really no reason why £ should not hare the 

master, when to the pastor. If he 

, liberty of actum deserve to be 

not derive this liberty, he do« 


same 

does 


uuca DOv 


327 

more service than one of three or four. Its tneiubrie 
should be missionaries of music, earnestly working tor 
the advancement of music in churches, explaining and 
promoting the geueral plans of the music director to the 
members of the congiegation. It should visit, in part or 
in whole, churches in neighboring towns or districts, in 
order to be intelligently informed concerning luoueiu 
methods in musical church work. There ate methods 
now employed m chuiches under the pardoning title ol 
” good old courch music ” Hist are sometime* as lucom 
prehmsible sod obsolete as the English ol Chaucer. 
Bach methods are olteu the forei nonet ol empty pews. 

The committee should mnuage the business ol the 
choir sociables, concerts, or entertainments. All mat 
tors of dispute, petty jealousy, or misunderstanding mat 
might cause disturbance or disruption could he rnoie 
diplomatically and finally settled by a body ol uilmu 
people than by any oue man. 

Churches too olten place the work of the music com¬ 
mittee upon two or three “ honor seekers," who, tailing 
in their aspirations to become trust***, eiders, or 
deacons, are appeased with a membership ujou the 
music committee; whereas tins commute*- should I* 
selected from the very licet cor]* ol workers in the 
church. It should be respected ss modi aa sny other 
body of church officers, aud it* work, although a jiart ul 
the church management, should be as distinct liuiu the 
other boards ol the church as are the j no icral, eaeculi i e, 
aud legislative branches ol our Republic. 

This committee should keep continually informed 
concerning the internal working* aud management ol 
the choir as a social body, it should see that Uir soloists 
eugsged bo of the same or similar “ musical Mboui " a* 
that of the musical director. A short time ago a young 
American organist was appointed to an irnporiant |nsi, 
bat had to oouteud with soioista who had been wiln hi* 
predecessor for some sia year*. The young wsn 
attempted to give some ol the line old English anlh* ms 
by Dr Clark, Wliilfleld, Hlr John Goss, aod oUiria, the 
music as a whole Iwiug a little difficult lor the old quar- 
tet. Soon the quartet, In order to corneal tb. ir iguor- 
auceor indolence, went among the members of the con¬ 
gregation inferring that the music they had song lu the 
past was good enough for them The oiganist vciy 
wisely went to the music entnroittoe and a-fced them to 
persuade the prejudiced quaitet to wait a lew month* 
before expressing any further opinion. The quartet 
knew nothing ol the organist’s meeting, but very meg 
nanimously consented to work enihosiastrcally lot * 
while longer. This they did. with the result ol raising 

the character of the church nitrate fl fly per rent., ami the 
attendance threefold. The young musician knew ol the 
educational value of old English cathedral music am! 
wa* not alraid to fight It out on that line. 

The muetc committee ibwld he coo per » tire with the 
nMtor and a* the rector in the Episcopal Church I* in 
constant communication with the choirmaster. should 
they strive io bring the cbotr loll sbd the pulpit itlo 
cloir feeling aod sweet.at harmony. Many «l these 
snggwdions advanced may neem Itnpian. bnl it-tnemlwf 
••the Ideal* of past decad* are the commonplace* ol lo- 

day.” ^ 

QUESTION® AND NNSUJBRS. 

r r k_ |, The K flat on the nfiper stall should he field 

by the fourth Auger of the right hand on the swell 
(with oboe and a lew reinforcing .tops), and the atm- 
ITrn noU* on Ibe aerwnd alaff a rwmlr.iacence of the 
theme--should 1* played will, the thumb or Uwrtgbt 

bund on the Great (with an eight-foot flute). The or 

-7, 

TtoSSfiSfS’S ^hsod. on UiriTroeper 

tbepUy’er lias a smalt hand, the right band parts 
of the fl^tX'e measure, of .he aerood brace mu«t «• 
rdaved entirely with the fourth flnge. (upper -lafl ) aod 

s*frs 

* inS.duev Australia, la a “striking reed *Uh 
Si (inverted wonder pipe* The l-g-tope tae.xty- 

y 1 ?’ ._ Th « (oneof the lower octave Is not a wad- 

iTuono. In tbelnweet note there are ^ ^. V^ratwn. 
. aeeaod. and the di-tinct ribraltooe ran tw “ 

U To acknowledged acoustic principle that the fowori 
‘ ” , has sixteen vibrations a second, which 

"r:l w°ha .a called thirty two foot C (an octave 
?£The"o^a, note of thia .wnttw-trombone). 

o F W-Referring to your quewtron. partially 
B a in the August iaane. there »a a large three, 
answered churth Great Bar 

man . 081 “Ihirh wM lS^W Mr. Ed.atri F. Beetle*. 

5SI?Tt«w h wi built hv Hilbr.ru I. R.«evelt. and m- 

-J* — ‘Mrty-fowr 

nation pedsla. piatona, and conplera. 
















































































































328 


THE DEATH OF OSCAR RAIF. 


BY EDITH LINWOOD WINN. 





Oscar Raik. 

On Saturday night, July 29th, a message came to a 
beautiful home in Von Billow Strasse, Berlin—a mess¬ 
age that brought anguish to a fond wife, who for twenty- 
one years had shared her husband’s successes and ambi¬ 
tions ; a message that brought sorrow and disappoint¬ 
ment to scores of pupils all over the world. It was 
death, and it called Oscar Baif in the very prime of his 
manhood, at fifty-two years of age. 

The great teacher’s life was one of great industry, 
beauty, and worth. A Hollander by birth, he came to 
Germany in his youth to study with Tausig. The early 
death of the latter compelled him to seek other instruc¬ 
tion, but not before the fire of Tausig’s genius had 
burned into his soul. Von Biilow was then in Berlin. 
He heard the young man, small of stature, timid, but 
with a strongly artistic temperament, and he demanded 
of young Raif that he devote himself to music alone. 

Professor Raif relinquished concert playing some time 
ago, as the increasing demands of his position as a teacher 
in the Hochschnle and his private teaching made it im¬ 
possible for him to pose as a concert artist. Two years 
ago Professors Barth and Raif had upon their list eighty 
pupils, and I am told that sixty of them were Americans. 

Raif’8 method was not easily understood, nor much 
approved of in Germany. He was, like many gTeat men, 
unique. 

He has been regarded an interpreter. He made a thor¬ 
ough study of tone and touch. His clever machines and 
other devices for illustrating his work were the admiration 
of his pupils. He did not believe in too much dry tech¬ 
nical work. He thought that one could acquire a tech¬ 
nic far more readily through scale practice than through 
<*tudes. He was very reticent about explaining his 
views to the public, for with true artistic reserve, he felt 
that the public did not thoroughly understand him. At 
the time of his death he had nearly completed a woik 
which had been accepted by a well-known publishing 
house, and was to have been published this fall. The 
illustrations for the entire book he had made himself. 

After the service the family and friends went to the 
grave in the beautiful old chnrch-yard, aDd there all that 
was mortal of Oscar Raif was consigned to the earth. 
The pastor took several handfuls of earth and dropped 
it upon the bier. He was followed by Frau Raif, the 
nearest family friend, and her sons. Without a tear in 
her eye, bnt with an expression of utter desolation, the 
widow took the outstretched hand of Professor Joachim 
and other eminent musicians, close friends and distin- 


THE ETUDE 

guished men and women. It was the German way of ex¬ 
pressing sympathy. We leave people alone with their 
dead. It does not matter. Hearts speak just as truly 
here as in America. It was over. 

The influence of Herr Raif can not yet be known. He 
died before his time, some say. Early in the spring, 
when stricken with paralysis, he felt the coming shadow. 
He wished more time to show his ideas to the world. 

I have no space to mention his many promising pupils. 
Among them are Miss Mary Wood Chase, of Chicago, 
and Miss Ida Simmons, well known in America. 


A FEW WORDS ON CHOPIN’S WORKS. 


BY C. FRED. KENYON. 


All great composers for the pianoforte have imbued 
their music with their own personalities. Great music, 
however impersonal and objective it may be, is more or 
less a “ human document,” a piece of faithful autobiog¬ 
raphy. An intelligent person could discover fairly accu¬ 
rately the chief points in the great composers’ characters 
if he had nothing more to guide him than the works of 
these composers. This is so because music is the most im¬ 
personal of all the arts. A man can not write great music 
except by revealing to some extent what experience has 
taught him. 

Thus it comes about that the music of all our great 
composers is very varied, both in style and matter. 
Bach is as far removed from Chopin as is Mendelssohn 
from Schumann. And, as a general rule, it is the pos¬ 
session of one particular characteristic in a highly de¬ 
veloped state that separates the quality of one man’s 
work from the quality of the work of another man. For 
instance ; the quality that pervades most of Mendels¬ 
sohn’s work is best described by the word “sentimen¬ 
tality ” ; in Chopin we have “ poetry ” ; in Schumann 
“thought,” and so on. As a natural result, it follows 
that a pianist will be more successful in interpreting the 
work of a composer with whom he has much in com¬ 
mon than he will be in the interpretation of the work 
of a musician whose whole mode of thinking and style of 
expression differ from his own. This explains why it is 
that so few pianists can play perfectly the compositions 
of more than one or two great composers. D’Albert is 
our Beethoven player, and Paderewski plays Chopin 
almost perfectly ; but where is the pianist who can play 
the works of both these composers as they ought to be 
played ? When a pianist who plays Chopin perfectly at¬ 
tempts one of Beethoven’s sonatas, the resplt is very 
often deplorable. The robustness of Beethoven is 
emasculated ; the beauty of thought is turned into 
mere prettiness, and the general result is as far from 
what it should be as the interpretation of Chopin by a 
Beethoven player very often is. A pianist of wide sym¬ 
pathies is indeed a rara avis. Only once in a generation 
does one appear who is able to achieve the highest sum¬ 
mit of musical interpretation. 

Chopin demands so much from his would-be inter¬ 
preter that very few of us can hope to play his music as 
he himself played it. But some of his shorter pieces are 
by reason of the comparative simplicity of their technic’ 
in the repertoire of nearly every pianist, and many ad¬ 
vanced students — ” 


playing of Chopin’s music ; but one rule can be followed 
with great advantage, and this rule is : “ P] ay Chopin’ 
compositions as you feel them.” If ycm d 0 and , 9 f 
you feel them in the same way that Chopin intended yd 
should feel them, you may rest assured that yon are 
playing them as they should be played. But the point 
to be observed is that you do feel his compositions as 
Chopin meant that you should. If you don’t, the result 
will be disastrous. I well remember hearing a young 
lady play Chopin’s E-flat nocturne. Her technic was 
perfect, but her interpretation of the piece was absurd 
She played that nocturne as though it was a merry waltz 
by Johann Strauss. 

How, then, may one learn the true nature of Chopin’s 
genius in order that one may give fit interpretation to 
his works? First of all, it is quite possible, though 
hardly probable, that you will, at the very outset, find 
yourself quite out of sympathy with Chopin and his 
works. If this be so, the best thing to be done is 
to abandon all hope of ever becoming an interpreter 
of his compositions—it is of no use attempting to 
explain to others what you yourself do not understand. 
If you have sympathy with him, and if his works attract 
you and make you wish to know more of them, you must 
approach him with humility and endeavor to understood 
his many-sided personality. 

Before making a study of Chopin’s works, it is advis¬ 
able to obtain a good life of the great composer. Read 
it carefully, and by the light which it will shed on his 
character, attempt to discover the influence of bis char¬ 
acter on his works. By this means you will soon come 
to understand what he has to say to you. What before¬ 
hand appeared to be ridiculous idiosyncrasies will now be 
revealed as charms ; what was exaggerated discord will 
now be the most entrancingly beautiful harmony. But 
all this will not come about without the exertion of a 
little study ; but the progress will be so rapid that the 
study will become a pleasure, and the pleasure will soon 
develop into a delight. When you think you have a 
proper and fairly comprehensive knowledge of his char¬ 
acter, study the rhythm of his dance music, particularly 
the rhythm of the polonaise and mazurka. Try to enter 
into the spirit of these dances and take care not to exag¬ 
gerate Chopin’s poetry. Beware of the tempo rubato! 
See that you are not tempted to indulge in it at all 
times. Study Chopin carefully— i. e., concentrate all 
your thought on one piece until you have mastered it 
thoroughly, until you understand what it means, and 
what it has to say to you. You will do well to leave the 
more advanced pieces alone until your technic is equal to 
them. You will accomplish a by no means easy task if 
you manage to play a dozen or so of his easier pieces 
perfectly. 

MIGRATORY PUPILS. 


It is astonishing how many pupils are drifting over 
the country taking a half-dozen lessons of about every 
teacher whom they meet, but studying no longer with 
any one. They can not play one-halt of the first book of 
Rink, and yet they “ have studied four years,” during 
which time they have studied with about all the promi¬ 
nent teachers as well as with many inferior instructors, 
vaneed student.. . , - One of these migratory pupils sailed into the church 

or forty of the great Pole's ^ r ° U ^ ,i ^ elUor ^ thirty where the writer was giving lessons some time ago, and 

or .h„, pi.oi.i. b ,:r gi zi “ 10 ** ke "■* 


wanted “to take organ lessons.” She was “a teacher 
mere satisfactory , . T. --- of organ and piano ” in a Southern seminary. She had 

Very few indeed Chonin’s W * v* aveIearne<1? studied with two of the best teachers in New York, and 

very lew, indeed. Chopin’s personality was such an three in 
extraordinary one, his thoughts so far above the thoughts 
and feelings of the ordinary man, that a large amount 
of sympathy is required of him who would interpret his 


works rightly. Technically, they are not particularly 
difficult; a large number of them are even quite sim¬ 
ple ; but their extraordinary originality, their wonder¬ 
ful weirdness and daringness, do more to hinder the 
student in his interpretation of them than any mere 
technical difficulty could. It is not that they are partic¬ 
ularly remarkable for depth of thought or obscurity of 
expression ; what lifts them so much out of the common 
is their fantastic delicacy and weirdness. 

No hard and fast rules can be laid down for the right 


Boston. She could not play “ Old Hundred 
without stopping, and yet she was earnest, enthusiastic, 
and willing to work. Happily the writer was spared 
the embarrassment of advising her to study zoiilogy in¬ 
stead of the organ, as after the fourth lessou she flitted 
back to Kentucky, to “ teach organ and piano ” in tl> e 
seminary. 


This is an age of progress. Inventions and discov¬ 
eries in science, and improved methods and labor-saving 
devices in business, succeed each other in almost bewil¬ 
dering rapidity. Art must not stand still; and those 
who follow the art must be in van of progress if they 
do not want the public to outgrow them. 


THE ETUDE 


BY 


THE MISSION OF THE SINGER. 

Evidence is not wanting that the vocal standard, 
which is, of course, perfection, and therefore must ever 
remain unchanged, is conspicuously less distant from 
the vocal standing of our people than it was even a 
few years ago. The change is grateful; vocalists pro¬ 
claim less and sing better. There is less tendency to 
parade the art in the garb of mysticism. Common sense 
has been spoken of in connection with singers and stag¬ 
ing. Writers who treat of something besides the wag¬ 
ging of the uvula and the shock of the glottis are com¬ 
ing to the front. There are those who believe sing¬ 
ing is a natural medium of expression ; that it is nat¬ 
ural to all except those who are dumb, either from 
choice, or because they falsely estimate the mission of 
the art. 

It is of the mission of singing that more should be 
written—its beneficence, its mercifulness, its restful¬ 
ness, its innate morality. On its highest plane it is iden¬ 
tical with spirituality. The world must be brought to 
realize this; to forget the much that has been said of 
the physical, the financial, and the material phases, and 
led to consider its influence on character, society, and 
religion. Those combative people who are objecting to 
the hobbies of others, which may be even less ridiculous 
than their own, would do well to turn their guns on 
the more vital questions, such as “Do vocalists sing 
truth or fable, history or fiction ? Is the impetus of 
song found in a true or false estimate of life? Have any 
songs been admitted to the catalogue of the classics, 
which did not find their motive in the real experiences 
of living?” There are those who will boldly con¬ 
tend for the false in music, but the jury—that is, the 
thoughtful people who have heard all the evidence—has 
found a true verdict, and many of them are pronounc¬ 
ing it with tear-stained faces. They say that fact, not 
fancy, experience, not imagination, has led them to 
their convictions. 

Culture, then, must enter into one’s power to appro¬ 
priate or possess the deepest meaning of the art. It is 
in this that the change has been so radical. People dis¬ 
criminate as a result of their greater intelligence. An 
appreciation of the virtue in singing is not accomplished 
at a bound ; it is arrived at by stages. First we hear a 
voice and wonder at its spell; we hear familiar words, 
but they are not the same. In their new form deeper 
meanings are revealed, and unexpected emphasis is given 
to thoughts, which, while they were our thoughts, 
prompted by our feelings, are more fully expressed. 

The next step is established by our recognition of 
melody. Its flow charms us; its measured pulses 
identify themselves naturally with the words, and the 
mind is conscious of a new and legitimate pleasure. It 
13 here that a great proportion of music listeners, re¬ 
freshed and even satisfied, pause too long. The senses 
employ their gentle offices with wondrous effect upon 
the fatigued mind and body, and it is little wonder that 
0De liD gers ’neath the spell without attempting to 
analyze its influence. 

At the next step the mind is reached ; the elements of 
1 ought and form begin to assert their importance; the 
passive pleasure of melody is disturbed, giving place to 
lrst for a knowledge of the art and its peculiar power, 
ben thought is aroused, the senses occupy a subordi¬ 
nate place. Numberless avenues of light open to the 
. ,' 3te< ^ interest. The mind, awakened by the newer 
a'ms to its attention, pursues, dissects, reveals, find- 
,D g recompense at every step. The heart responds, the 
• nl expands, and singing becomes an intellectual 

Pleisure. 

^e now are prepared and can approach the final step. 


tt-W-GRL 


The way is long, and we, as a people, are only just find¬ 
ing it. A proportion, it is true, have found it, and they 
are stretching out their hands eager to hasten the hour 
when the benediction of true musicianship may be pro¬ 
nounced, not upon a proportion of, but upon the whole, 
people. It is the recognition of truth and the spiritual 
nature of song. The spell was potent at every stage, but 
unperceived; it must wait until the mind has been made 
ready by growth for the revelation. It is here that we 
become conscious that art is only another name for ex¬ 
perience ; but through the art experience is renewed, 
combined with pity, love, and tenderness, with purpose, 
strength, and courage. The master mind has been 
reached and the momentum of the art is no longer a 
mystery. The eyes are stern ; the heart and hand give 
back no sign when hurt by the ungentle contact with 
reality, but when the voice, gifted and cultured, speaks 
to us in song, and carries us again across the rugged way, 
we see the gracious purpose; this time the heart yields, 
the hand trembles, the eye is moist; the truth has found 
the way. Life is sweeter and the next hard place is 
met with less resistance. Such is the mission of the 
vocal art. Too few who enter upon the study of it are 
even remotely conscious of its depth or its possibilities 
for good. Its superficial charms are, however, so allur¬ 
ing that it is well-nigh irresistible and thus many at¬ 
tempt it whose talents are misdirected. 

Vocal music is an inexorable test of mental caliber. 
Those to whom it appeals most stroDgly are of the finer 
mold. Such are deepened and broadened beyond 
ordinary comprehension. It is to these the art owes its 
growth and nearer approach to the standard which is 
perfection. 

To idealize is not to sing ; stubborn problems must be 
solved ; technical obstacles met and conquered ; in¬ 
artistic tendencies set aside until soul and voice are free. 
Then it is that the message carries conviction, which is 
the messenger's best reward. 

THE IMPORTANCE OF CORRECT VOCAL 
TECHNIC TO THE ASPIRANT FOR MUSI¬ 
CAL HONORS. 

BY HENRIETTA BEEBE. 

many yea wh in England and Amenra. 

Randegger. In add,‘.’^^“ofThe great Jenny Lind. 
to°whomshe oweTmuch for the rare attainments that 

ated.—V ocal Editor ] 

. that “when the art of singing is 

JZZ, it win be recognized as the finest of the 

81 Allowing this to '^^| D ^j|te]HgeM n minne , |\ 

pnr sne their « ^ (herr ^ 

Never in the M 7^ #nd never has there 

more aspirants fo . . { g^tiy to our credit 

be !, nSn ft. 1 °Ahigh r Iim'i-“nre to elevate, even though 
achievement who have not 


32© 

Given a reasonable amount ot native ability, which 
includes a true, musical ear, and add persistent applies 
tion, and we have the main requirements of a student 
in singing. It has been said that “inspiration is per¬ 
spiration,” and that “nine-tenths of genius is hard 
work,” and, again, that “genius is the transcendent ca¬ 
pacity for taking trouble.” In view of these salient 
truths, there is more to encourage than to discourage the 
would-be student 

One of tlie dangers to which many are liable lies in 
the attempt to do that for which they are Dot fitted, 
either by talent or temperament, and here the old pro¬ 
verb often applies admirably, “The camel aspired alter 
horns and the Lord took away his ear*.” To obviate 
this possibility the pupil should seek the teacher who 
has a keen eye, not so much upon the dollara, as upon 
the best interests of the applicant. 

Temperament is the gage and mainspring of all suc¬ 
cess in vocal art, even where a floe voice and true ear 
await the recognition of their posaemor, and it alao ac¬ 
counts for the varied degrees of anoceas. The discrim¬ 
inating listener knows liow rarely a voice touches the 
heart or lingers in the memory past the bearing A per¬ 
version of Carlyle's words expresses the situation : “If a 
voice come from the heart, it will contrive to reach the 
heart,” and it is in this result that inborn temperament 
evinces itself. 

It therefore goes without saying that the possession of 
this quality, in some degree, is essential to the ultimate 
success of the singer. That eorreri method assists and 
develops temperament there can lie no doubt, since it 
doee for the voice what correct technic does for the viol in, 
the inevitable result being vibration and quality. 

The singer born with correct emission and control of 
the voice is as rare as a pear on an apple-tree, and, when 
thus gifted, rarely makes a good student. 

Premature decay is sure to come within a few years to 
those who depend solely upon nature. In youth we do 
not realize the importance of art added to nature, bnt 
the years are stern taskmasters, and the singer not in 
frequently awakens, all too late, to the realisation of 
powers wasted and irremediable bad habit* formed. 

We would warn young singers in season and Urns 
spare them the bitter disappointment that so surely 
awaits them. To pupils who really care to make the 
most of their gift*, the selection of the first teacher la 
of the most vital importance. That teacher la the truest 
friend who insist* upon a firm and broad technical /«*«- 
datum. Here It la well to say that the time consumed 
in this process is governed by the sptltnde of the pupil, 
and most be regarded aa time saved rather than lost, ac 
cording to the standard of the Impatient ones. As well 
place a Beethoven sonata Is-foie a child begiuoer on the 
piano, expecting him to dierloae itabeantiea and feeling, 
as to expect vocalist*, without the exmtrol of tbrir in¬ 
strument, to atutn to an artistic result. Let pupils be 
convinced that the doty U> themselves is. find ot all, to 
lay a solid basis,-vix., breath control and corrrH 
formation ,—anil they will never wane to he grateful for 
the pains taken at the start. Only this coarse insure* 
ultimate eooporoy in money, skill, physique, and time. 

It is a too frequent expeiience to meet wtlb mimical 
- students who, having ’.pent ao many years and so 
much money ” in "hat, *t the lime, seemed study, and 
who finally meet » cooarlentlooa teacher who opens 
their ear* to the true art, are fairly paralyzed by the 
overwhelming realization that they have bo tided their 
structure upon rend. To all such we would say. there 
is a sore remedy attending their acceptatkm. 

The instructor who can help scholar*, beginning or *d- 
vaneed in year*, to regain confidence in themselves hr 
prompt, untiring, and well-directed extra**, ts the 
boon of the unfortunate student, who require* hot this 
salutary assistance to reinstate ambition. TIk- »*y 
to the bleaaedness in music lies through weory 
and the master most suffer with the dmripl*.’' This 
expresses the bond between the earnest stodmt and lbs 
tether Allowing that the pupil must materialize the 
instruction, still the greatest importance attache, ta the 
ability of the teacher, .bo should have developed from 
personal experience, and who should posses* the faculty 
of imparting with petlent wisdom, always stndying the 
needs ot each individual pupil. The writar would 






















































330 


THE ETUDE 


again emphasize the importance of beginning correctly 
and thus avoid many a tearful hour of discouragement 
and regret. 

Let the host of young aspirants know for a fact that 
invoice development “slow growth is sure growth” and 
permanent, and, that what they do rightly or wrongly 
at the outset, will mark their future work for better or 
for worse. 

What is worth doing at all is worth doing well, very 
especially in the much abused art of “ bel canto." 

With the belief that “ he who aims at the stars is sure 
to rise above the earth,” all may attain to good and pro¬ 
fitable position in proportion to their earnest, conscien¬ 
tious and patient application. 


tion, thereby securing the inflation of the ‘ pouches ’ or 
ventricles of Morgagni, above the true chords; that in 
this way a ‘ point of resistance ’ to breath-pressure is set 
up above the vocal chords, and the latter are relieved 
from impediments to correct action. 

“ Each of these suggestions was followed, and some 
improvement resulted in each case, but I am sorry to 
say the change was only temporary. I have sent Miss 
K. to you in the hope that your larger experience will 
have prepared you to discover just what she needs. 

“ Thanking you for your former kindness to me, and 
asking the favor of a few lines later on about Miss K., 
I am, “ Very truly yours, 

“John H.” 


NOTES OF CASES FROM THE RECORDS OF A 
VOICE HOSPITAL. 

EDITED BY F. W. WODEI.L. 

III. 

Case No. 8. —This patient presented the following let¬ 
ter, addressed to me by a teacher with whom I had some 
acquaintance, and who lived in a city in a neighboring 
State: 

“ Dear Sir: The bearer, Miss K., has been my pupil 
for over a year. She now leaves H. to reside in your city, 
and I have advised her to see you about lessons. I con¬ 
sidered her voice a good one, and likely to develop well, 
but I have been a good deal troubled by its breathiness. 
The tone has seemed to be enveloped in breath, and ob¬ 
scured to the ear as the sun is to the eye by a fog. I 
called my pupil’s attention to the defect, and asked her 
to keep it in mind and try to overcome it. After several 
weeks’ (eight or nine) work on vocalises with the princi¬ 
pal vowels there seemed to be some improvement, but 
later this disappeared, and I was, of course, much disap¬ 
pointed, as I was certain the pupil had faithfully en¬ 
deavored to rid herself of the fault. I then looked up 
the books to see what they had to say about the problem 
of ‘breathing’ tone. I found several possible causes 
and remedies therein enumerated, among them the fol¬ 
lowing : 

“A. Weakness of the muscles which adjust the vocal 
chords for singing. Remedy : A series of short tones at 
medium pitches, moderate power, with breath-taking 
after each tone. Theory: On inhaling ‘chord-opening ’ 
muscles are exercised ; on sounding a note ‘chord clos¬ 
ing ’ muscles work ; short periods of work and rest would 
strengthen these muscles, and hence a more perfect ap¬ 
proximation of the chords and economical use of breath 
on production of tone would be attained. Alternative 
treatment for A : Exercise in taking breath and then 
pressing the upper chest firmly outward, while the lower 
abdomen is slowly pressed inward and upward, and the 
vowel a, as in day, is uttered in a sharp whisper. The¬ 
ory : That this mode of breath management automat¬ 
ically tenses the vocal chords and prevents waste of 
breath. 

“ B. Abnormal condition of chords, preventing proper 
chordal approximation, arising from incorrect attempts 
to secure intensity or volume of tone. Remedy : (a) 
Exercise in keeping upper chest firmly fixed at a high 
elevation on sounding and sustaining tone , (b) the use 
of thesyllable ‘mawm,’ with a preliminary humming of 
the ‘ M ’ on various pitches ; the vewel to be thought 
upon the lips where and while the ‘ M ’ is sounding, and 
to be felt there when the jaw falls on leaving the conso¬ 
nant for the vowel, which is merged into ‘ M ’; this final 
‘ M ’ to be felt vibrating upon the lips as at first. The 
complete syllable, as executed, may be represented thus : 
*m—aw—m.’ Theory: That this mode of breath- 
management and tone-placing will restore the chords to 
a normal condition, insure a proper degree of chordal 
tension and make impossible injury to the chords by un¬ 
due severity of ‘shock ’ or ‘stroke.’ 

“ C. Interference with chord approximation, and 
tension. Remedy : Exercise for taking a breath, closing 
the throat as in preparing to lift a heavy weight, squeez¬ 
ing the breath while held, and then ‘exploding’ the 
tone. Theory: That this mode of breath management 
brings the false vocal chords or ‘ breath-bands ’ into ac¬ 


Reply. 

“Me. John H. 

‘ ‘ My Dear Sir: Thank you for your letter. I have been 
much interested in Miss K. ’s case. Perhaps the first point 
in dealing with a ‘ breathy ’ voice is to secure to the pupil 
a correct idea as to true ‘ attack ’ of tone. ‘Attack ’ means 
the starting of a note on a vowel at the exact pitch, with 
perfect vowel, and clear, intense tone. Give the pupil a 
good model, and he will get an idea of what is wanted. 
Some will solve the problem by imitation, without other 
aid. I do not favor exercises calling attention to 
chordal action—most pupils are too conscious of the 
throat while singing. On perfect attack, one never feels 
that the tone begins at the chords. After the pupil has 
gotten a correct concept of * attack, ’ you must clear 
away the physical obstacles, if any, which hinder his 
realization thereof in his own singing. Give him breath- 
control, below the throat (inhaling versus exhaling 
muscles) ; concurrently, give him freedom from rigidity, 
on tone production at larynx, tongue and jaw, by means 
of exercises such as the rapid, smooth, distinct, and light 
singing of 1-2 3-4-5-6-ah, at easy pitches, with breath 
control, smiling eyes and laughter in the tone, and the 
endeavor to realize a sensation of vibration in the upper 
front month. Then, with his correct concept, breath- 
pressure under control, and freedom at the neck, he is 
prepared to ‘Do ah, stop and repeat,’ which is one ex¬ 
pert’s statement of ‘ attack. ’ A tone rightly begun may 
be correctly sustained so long as the conditions noted 
are retained. 

“ All this, however, is dependent upon whether the 
pupil’s body is in sound condition. And here is where 
I come to Miss K.’s problem. I find her to be very 
musical, and in possession of a beautiful mezzo-contralto 
voice. The voice is, as you stated, exceedingly breathy, 
and, of course, lacking in resonance. She has over¬ 
worked mind and body for three years as a conscientious, 
ambitious teacher of a primary grade public school in 
one of the worst districts of your city. She has been in 
bondage to fear that she could not control her school, and 
would lose her position, and her place in her quartet 
also. She has sung for a year on her ‘ nerve, ’ endeavor¬ 
ing against heavy odds to make tone enough to balance 
three big voices in her quartet. Physicians well know 
the directly unfavorable influence of diseases of the 
nervous system upon the voice. Hers is a case for a phy¬ 
sician and a ‘rest cure,’ not for a vocal-trainer, and I 
have so advised her. I trust she will be able to cease 
work for a considerable time, and regain nervous vital¬ 
ity. Her voice and personality are such as to insure a 
considerable success, were she a well woman. 

“With regards, I am, sincerely yours, 

Dieectob Voice Hospital.” 


increase of volume of tone is a frequent cause , 
breathiness,” and also of a shortening of the com pa: 
of the voice. Its characteristic muscular condition is 
stiffening and pressing backward and downward of tl 
tongue. In such a case, exercises for the relaxing of tt 
tongue are of no value unless the pupil also obtains coi 
trol of breath pressure at the chest. Without that coi 
trol the smger is compelled to attempt to control breat 
at the throat. With correct control he may be free froi 
rigidity of the tongue and surrounding parts-he is n. 
compelled to he rigid. With rigidity of the instrumei 
an increase of volume of true tone is impossible. 


PROVERBS FOR YOUNG SINGERS. 




- o-i «uu teg 


• W- 1 -- t 

years of thy voice shall be many. 

My son, if they that call themselves voice builder 
entice thee, consent thou not; walk not thon in the wa* 
with them ; refrain thy foot from their path. 7 

For their methods run to evil, and they lay wait to 
spoil the voice that thou hast. 

(Surely in vain the net is spread in the sight of anv 
bird.) J 


So are the ways of every one that is greedy of gain • 
which taketh away the voice of the owner thereof. ’ 
My son, beware of the man that speaketh froward 
things, and promiseth thee the riches and honor that 
are not for thee. 

For his method inclineth unto ruin and his paths onto 
the ruined. None that goeth to him for instruction 
returneth again, neither handleth he for a space the 
shekels of success. 


I will lead thee in the way of wisdom. When thon 
singest thy voice shall not be straitened, and when 
thou goest to perform marvelous things with thine 
organ thou shalt not fail. 

Take fast hold of instruction ; let her not go ; keep 
her ; for she is thy life. 

Enter not into the paths of the voice specialists; 
avoid them, pass them by. Their lips drop as an honey¬ 
comb, and their mouths are sweeter than oil. 

For they sleep not except they have done mischief; 
and their sleep is taken away unless they cause some to 
fall. 

Thou art snared with the words of their months and 
the flattery of their lips. 

Hearken unto me now, therefore, O my son ; counsel 
is mine, and sound wisdom. 

He that is despised and hath a voice is better than 
he that honoreth himself and yet lacketh a voice. 

He that singeth sweetly singeth surely ; but he that 
perverteth his tones shall be known. 

He that, being often reproved for forcing his voice, 
hardeneth his neck, shall suddenly come to grief, and 
that without remedy. 

Much good is in the tillage of the voice ; bnt there is 
that is destroyed for want of judgment. 

He that shouteth his high notes singeth to the satis¬ 
fying of his soul; but he that is wise chasteneth himself 
betimes, and is more honored of his neighbors. 

There is a way which seemeth right unto a man, bnt 
the end thereof is the abomination of vocalization. 

The unskilful singer is hated even of his own neigh¬ 
bors ; but the skilful hath many friends. 

In all labor there is profit; but the singing of the 
unskilful tendeth only to penury, and causetb him that 
heareth it to blaspheme. 

It is better to dwell in a corner of the house-top than 
with one that esteemeth himself a tenor in a wide 
house. 

My son, wisdom is before him that practiseth not his 
voice before he hath broke his fast; but he that openeth 
his month in a fog is a fool. 

He that is wise practiseth diligently and waiteth 
many years ; an inheritance may be gotten hastily at 
the beginning ; but the end thereof shall not be blessed. 

The glory of the young singer is his success; and 
the glory of him that is old is the farewell that never 
ceaseth.— E. A. in “ Music ” {London). 


“ I AM what I am because I was industrious ; w k° eTe * 
is equally sedulous will be equally successful, **' 
Bach. It is a good thought for the young music stu en 
to incorporate into his life and labors. 


UiJtS. j . o. 


-iuur gin ui Hiicriii -- , 

chest tones as high as F, first space. She should mn^ 
her change on D, or many times below—on D A®* 01 
Her middle voice should be carried down to these no^e 
even though they are very weak at first. To carry 
chest voice as high as F is to encourage a most dang® 

tendency. Most contraltos sing their middle notes 

to B and C, rather than changing. 


THE ETUDE 


331 



“ Always at hand, so never in 
DOES THIS FIT hand.” Do you know that there 
YOUR CASE ? is no department in The Etude of 
more practical worth than the 
publisher’s department? The special offers, the de¬ 
scriptions of books that you need, and the general infor¬ 
mation about valuable publications given here bring to 
your attention things of greatest value ; yet, because it is 
apparently in the interest of the publisher, you, with too 
many others, are missing much that you can ill afford 
to lose. But we may say right here that these notes are 
written in the interest of the subscriber as well as that 
of the publisher. We are constantly bringing out new 
works and new and improved editions of old works 
that are indispensable to the progressive teacher, and 
from our daily correspondence we learn that too many of 
our patrons and subscribers do not read this department 
as they should. Also, they pass over the advertisements 
without seeing much that they are constantly asking for 
in letters ; that is, asking for helps that would have been 
answered by reading the advertisements that appear con¬ 
stantly in the columns of The Etude. There is little 
or nothing new and valuable in the musical world that 
does not find an annoucement, with where it can be had, 
and at what cost, in these columns. 


Those having good open accounts on our books can have 
the amount charged. We can only fill a limited number 
of orders, so send in your order early ; otherwise they 
may be gone. 

“Landon’8 Foundation Materials,” a book for be¬ 
ginners, is having a large and increasing sale. The book 
contains many new and valuable features. It at once 
interests the child in music, and keeps him interested, 
there being none of the too common experience of losing 
interest because of the ordinary impossibility of playing 
the exercises in a musical manner. This work is so 
gradually and easily graded that there is no unprepared 
difficulty for the pupil, and every piece has a decided 
and easily felt musical interest. The new contribution 
to the celebrated Mason “Touch and Technic,” inasetof 
sliding exercises for the flexibility and celerity of move¬ 
ment in the second joint of the fingers, is of great 
developing value. The unique manner of presenting 
the right idea of the uses of the damper pedal is another 
striking feature of the book. The titles of the delight¬ 
ful little pieces have proved an incentive to the interest 
of children, and so have the many beautiful but easy 
duets for pupil and teacher. Send for a copy and try it. 
Price, $1.00 ; liberal discount to teachers. 


We still have on hand a few copies of the “Elite Com¬ 
pilation of Songs and Ballads.” This collection is a 
choice lot of modern songs by such composers as Denza, 
Chaminade, Cowen, Parker, etc. There are 129 pages in 
the book, and it is printed on the very best paper. As long 
as the stock which we have on hand lasts, we will send 
them foT 60 cents, postpaid. Those in search of a collec¬ 
tion of good songB, of a medium grade of difficulty, 
can find nothing better. 

This is positively the last month for the special offer 
on Mr. Tapper’s new work, “Pictures from the Lives 
of the Great Composers.” The book is about ready, 
and those who have not availed themselves of the 
special offer price, must do so during the present month. 
The special offer price is 50 cents, postpaid. We have, 
in time past, given descriptions of the work. It is, first 
°f all, a book of literature for children, scenes de¬ 
lightfully described about the composers Bach, Haydn 
and Mozart, with incidental pictures of many other 
composers and famous people. By including biography 
within another story, the author succeeds in emphasizing 
the music story and holding the child’s attention. An 
appendix of questions on the text serves as a help and 
suggestion to the teacher who desires to use the book for 
initial lessons in musical history. The book is written 
in simple language; it is designed to be read by the 
children themselves. Nothing can serve better for the 
child’s first lessons in musical biography; contem¬ 
poraneous history is delightfully introduced and the 
child learns by grouping personages and events. 

We wish to dispose of our surplus stock of vocal and 
piano collections. We have about two hundred of these 
that can be dispensed with in our stock. These are not 
second-hand but have been on the shelves for some time, 
until they are a little shelf-worn. We will make an offer 
to our patrons as follows: We will send five volumes 

Jof $1 00, but will not pay the postage or expressage. 

ie will have to be paid by the purchasers at their end 
the line or charged to their accounts. The purchasers 
oan have the privilege of selecting either the vocal or 
piano collections, and in a general way indicate whether 
®y wish them classical or popular, easy or difficult. 
* books are not returnable, and the selection must be 
e ft to us. The offer is one of the best that we have 
®®de, and we feel sure that satisfaction will be given. 


One of the too much neglected feature* of music study 
s that of sight reading. “The Sight Reading Albums,” 
and ll, by Charles W. Landon, are a new contribution 
o this valuable part of a musical education. Through 
m extended series of psychological experiment* he 
onnd the exact workings of the mind in its endeavor* 
or sight reading. This is fully explained in the intro- 
luction, and the following selections of beautiful piece* 
ire made to facilitate these natural workings of the mind, 
rarthermore, sight reading is taken up from the expres- 
ional standpoint. It teache* an emotional giving out of 
ihrases with a strong rhythmical feeling, reading the 
nusical thought that the notes stand for instead of the 
nere dry notes from the mechanical standpoint, lie- 
ides the sight-reading qualities, the books give someof 
he best music, carefully edited and phrased, fingered, 
md annotated. There are no collection* of music supe- 
ior as fine mnsic for memorizing and regular leason 
*ork for expression and taste formation. Price of each 

s $1.00. 

WHY not organize the most mature and faWllfentrf 
ron r pupils and a select few among your musical friend* 
nto a society for musical readings. Musical biography 
^ fascinating reading as the most interest,ng novel 
Musical history is no less so, and there are several book* 

^18,” and “ Music Life and How to Succeed in 
%• 

v nn “Theorv of Interpretation, by 
. rapidly approaching completion. The 

? ffer is still in force, but may be withdrawn at 
ipecal of work . dealing with the .true 

»ny time. Tb lation 0 f mnsic is on the in- 

turc, meaning, ^ Jl ^ we desire to know 
lre ase; as ™ Tbe t*** lays bare many tact* 

“°re of lte “ 7 t eTerv progressive student should kno w, 
‘bout music that e P ^ ^ theorJ of mBS , c 1* 

[f you possess only ^ ^ nefeMiarily be a knowl- 

t be this one. T ^ gnd derive benefit from 

-_. Harmony to nn . - _ ._ 


“ Graded Materials for Pipe Organ ” will be sent to 
advance subscribers about tbe time The Etude reaches 
its readers this month. The special oiler is therefore 
withdrawn from thia issue. Those in search of a prac¬ 
tical guide for beginners on pipe organ will find jnat 
what is desired in this new work by Mr. Rogers. 


We have a new satchel to offer. To begin with, let 
us say that we consider it a great improvement over 
those that have been sold previously. It ia made of the 
beet leather, in black and in tan, and the price in tbe same 
as that of the old one. It ia sheet mnsic sine, bnt the 
main improvement is that it can either be carried with 
a hook in it, fall sheet music si*e, or it can lie carried 
just as well doubled, making it half size. It has a 
double set of buckles, so that it will take the place of 
both of the others ; that is, either folding the mnsic once 
or not folding it at all, tbe latter case being when it ia 
full or when it has a bound book in it Anotbei im¬ 
provement is that around tbe edge*, instead of depend- * 
ing simply upon tbe sewing, it has six neat straps and 
bnckles, two on each side and tbe bottom, which makes 
it very strong, impossible for it to break out, and yet 
will bold easily an inch to an inch and a half thickness 
of mnsic. The price is $3.00, tbe same as that at which 
the old one was sold, with the same liberal discount 
which was allowed on it. We can thoroughly recommend 
this satchel both as to appearance, quality, and work¬ 
manship ; the best satchel for the money which we 
have ever seen. 

During the present month tbe first package of new 
music “on sale” will be sent out for tbe present season. 
If yon are not familiar with onr system, it is this : f rom 
October until Msy, once each month, we send a package 
of the very latest publications of our own, ten or twelve 
pieces, to those of ooi patron* who desire them. T hese 
are billed at onr usual large “ shee!-music ” discount, and 
are returnable at tba end of the season. They can lie 
merged with any other package «f “on sale” which 
you may have from us, and all lie returned at once. 
There are few teacher* on onr books who hare any sized 
school or class who do not take advantage of this ofler. 
It costa very little, only tbe postage, which is sit or 
seven cent* a month, and fills s want for new mnsic 
with which every teacher is constantly harassed. 

“Text-Book on HaMKWT,” by Dr. II. A. Clarke, 
is the title of the plelnest, most oonrise, and valuable 
treatise on the theory of mnsic that ha* »>een pub 
lisbed up to tbe present time. It ta not a large book, 
ta but one school terra old, aod it* snccwMS has been as 
great as tbe nuccen# of I>r. Clarke's own jiersnnsl tew b 
ing has been in hi* long years of in*Vmc«lon ia this 
branch. He is tbe bead of tbe Mnsic Department at 
the University of Pennsylvania, and i* conceded to be 
tbe most successful teacher of harmony of tbe present 
day. Before deciding cm your tort book forth* coming 
»ea*on, let u» solid yon a copy of tht* to examine. The 
retail price i» * 1 . 96 , vrilb tb* liberal discoonl to tbe pro¬ 
fession and for quantity. 

<• 

Srw’iAt. Renewal Orrsn n* CHtohe*.-A ccord- 
ing to onr nsual plan, we will make the foiiowlog ofier 
during the month of October to tboa* who send the 
renewal during that time : tar |l W we will renew yoor 
subscription for one year and send ycro a onpy of 
“Foundation Materials for tbe Pianoforte.' by Cha*. 
W Landon. Tht* book i* an ideal one, both in Ita con¬ 
tents and the manner of presenting the.., making of 
earnest ratude study a pastime and a pleasure. Mr. 
Landon i* well koown a* tbe author of iwginners in- 
stroclion books, and this is the best of them all. It has 
been rraed largely and successfully, hot w. make this 
offer to still farther Introduce it to Ihoee in particular 
who have not seen it. For those who do not care for on 
instruction book, or have no os* for it a» the peewmt 
time, we will substitute for the Landau's ’ I ound.Uoa 
Materiel* ” n most interesting collection of earn |ucc*s, 
entitled “ Album of Instructive Pi«*A compiled by 
Theodore Prosser. This work is not a new owe, which 




















































332 


proves its acceptance, it having been reprinted many 
times. It contains the best collection of easy pieces that 
we have on onr catalogue. It is a safe volnme to place 
in the hands of any pnpil; fingered, phrased, and 
melodious. 

With onr mail orders we inclose a self-addressed 
postal card, and we do this that teachers may always 
have at hand a means of writing down any piece that 
may come to mind as desirable, or the title of some piece 
heard or read abont. Many teachers are carrying one of 
these in the pocket or music roll so that this can be done 
at the moment before being forgotten. Every teacher 
knows how often the pieces wanted most were omitted 
in the hastily written order. 


Harmony students will be glad to know that we fur¬ 
nish a blank music book for exercises, bound in stiff 
paper, the music paper being of excellent quality, tough, 
and hard enough to withstand several erasures over the 
same place, even of ink writing. We have three sizes, 
25, 20, and 15 cents. Try them for your harmony work. 
We also have the Clark pad of music paper, sheets put 
up in pad form for the first tryings of a new rule or sub¬ 
ject of the harmony lessons. 


MUSIC IN THIS ISSUE. 


“ Vai.sk Lkntk,” by Martinns 8ieveking, one of the 
best of late salon pieces. It was made popular by the author 
on his recent concert tour in this country. Any pianist 
need not hesitate to add the piece to his list of concert 
numbers. It combines all the qualities of a good concert 
piece. 

“Spring Song,” by V. Hollaender. Do not turn this 
piece down because it is in the form of an etude. The 
melody is exquisite and the harmonic setting most 
artistic. It is worthy to rank with Mendelssohn’s cele¬ 
brated “ Spring Song.” The composition is delightfully 
pianistic, laying naturally under the hand. Play it 
until ease and grace are attained. 

“ Hungarian Dance,” by B. Wolff, Op. 166, No. 4, 
for four bands. The duets are inserted primarily for re¬ 
creation. The piece, if played with fire and dash, will 
please any one, be he a lover of a Bach fugue or a coon 
dance. Be snre to bring out the peculiar Hungarian 
rhythm prominently. 

“ Remembrance,” by Ilarmel Pratt. This piece is 
filled with grace and originality. Its interpretation 
must partake of the nocturne or song without words. 
There is in the piece every opportunity to display the 
finest shading in the employment of the rnbato, with 
here and there a showing of passion. The study of the 
piece will repay every student. 

“ Bells ok the Old Minster,” by B. Rowdemath. 
This is a little fantasie on the popular vesper hymn by 
Bortnianski, with cathedral chimes. For an effectual 
description of Sunday vespers this little piece will rank 
well. It is, first of all, pleasing, and, second, not hard to 
execute. We predict a wide popularity for it. There is 
a chance to display imitative qualities. After playing 
the composition every chime heard on Sunday will have 
added interest. 

"A Silent Prayer.” Th. Kullak. Though only one 
page, this piece contains much thought. Without the 
title to guide, the spirit of prayer is ever present in the 
music. The master hand is shown in every chord com¬ 
bination. No composer has given us more good simple 
music than Th. Kullak. 

“Teasing,” by N. von Wilm, Op. 12, No. 5. This 
piece is not so easy as it might seem ; it must be played 
in scherzo-like tempo. The attack at every fourth measure 
must be clear cut. Do not muddle the left hand ; it has 
as mneb to do as the right. Study the piece until every¬ 
thing is clearly brought out with a light, crisp touch. 
The piece is a laughing, humorous sketch. 

“The Little Busy Bee,” by H. Nurnberg, Op. 208, 
No. 1. This simple piece reminds one of Mozart in the 
second part. There is nothing commonplace in it. It 


THE ETUDE 

h,as all the good qualities of higher music told in a 
simple manner. Do not take the tempo too rapid ; let 
the melody be heard above the murmur of the left hand. 

“ Pretty Grace,” by Ed. E. Farringer, a sprightly 
encore song—can be sung by child or adult. Few songs 
have we by modern writers that are not filled with 
difficult intervals. In this one there is nothing difficult, 
and yet it is not commonplace. 

“Dearie,” by Leo Oehmler. A pleasing melody is 
here presented with musicianly harmony. The song is 
worthy to be ranked with the standard Scotch ballads. 
The sentiment is pure, the melody rich in Scotch flavor, 
and it is hoped the song will meet the favor it deserves. 


HOME NOTES. 


Tub sixth and final raldsummernight musicals has just been given 
by the College of Music, Boston; Louis Arthur Ruesell, Musical 
Director. The programs for the entire series have been of unusual 
excellence and attractiveness, and the last one was the most severe 
and interesting of all. These musicales have been under the direc¬ 
tion of Mr. Russell, and the announcement is now made that aseries 
of concerls is to be given monthly during the coming season by the 
faculty, the alnmni, and senior students of the College. The first 
concert will occur in October. 

Mrs. Florence T. Pklton, of Brooklyn, N. Y., has opened a 
school where she will introduce the Fletcher Kindergarten method. 
Mrs. Pelton was a pupil of the Stuttgart Conservatory of Music, and 
is a musician of considerable experience. 

Mr. William D. Armstrong, of Alton, Ill., has recently been 
elected president of the Illinois Music Teachers’ Association. For 
the past Bix years he has been director of the Shurtleff School of 
Music. Mr. Armstrong is a musician of exceptional ability, and 
his compositions have already won great celebrity, numbering 
nearly one hundred. 

Carrie Delle Hosmer, of Orange, Mass., has just closed a suc¬ 
cessful summer school, having had an attendance of fifty pupils. 
Two interesting recitals were given. 

Harry Grahoff, the talented young pianist, pupil of Mr. Alex¬ 
ander Lambert, will give a piano recital at the Mendelssohn Glee 
Club Hall in October. 

Mary E. Hallock, the pianist, has been engaged for two concerts 
with the Pittsburg Symphony Orchestra. 

A fink new building has been added to the Sultiua College for 
Young Ladies, Bristol, Va.-Tenn., of which F. J. Zeisberg is 
musical director. The outlook for a prosperous season is a bright 
one. 

Mrs. May Talley, who has been in Los Angeles for some time, 
has returned to her home in Richmond, Va., and will resume pro¬ 
fessional work. 


Among the new features introduced at Lambert’s New York Col¬ 
lege of Music will be a free class in solfeggio for children. 

The Orpheus Musical Club, of Columbus, Ga., will take up the 
study of American composers and their works at their meetings on 
alternate Saturdays, beginning November 4th. 

The school, which for more than forty years has been known as 
Mount Carroll Seminary, has, by the wish of its founder, Mrs. F. 
A. W. Shimer, become an afliliated school of the University of 
Chicago. 

Prof. James E. Spkcht has recently been elected as choirmaster 
and organist at St. John’s Luthetan Church, Hamburg, Pa. During 
the coming winter he will give a number of recitals and musicales, 
introducing some new features. 

The University of Denver, 8. H. Blakeslee, Dean, has entered on 
its second year. To meet the growing needs of the school two more 
teachers have been engaged, beginning wlib the op.ntng of the fall 
term. The first commencement concert was held on June 2oth. 


A piano and song recital was given by Mr. Franklin Sonnakaib 
pianist, of New York City, and Mr. Leland H. LaDgley, baritoneof 
St. Bartholomew's Episcopal Church, New York City, at the cottage 
of Mrs. Morris Lee King, Santa Crux Park, on August 19th at 4 
o’clock. 

The Toronto College of Music, F. H. Torrington, Musical Direc¬ 
tor, has entered upon its twelfih year. The faculty consists of 
the most prominent and experienced executive and theoretical 
musicians from both Europe and America. At the closing concert 
on June 26th, most of the numbers were given by pupils of Mr' 
Torrington. 


. ’---pusuiOu 

musical director of the Presbyterian College, Greensboro, Pa. 

Dr. Henry G. Hanchktt has just concluded the session of h 
summer school in connection with the Chautauqua Assembly 
Monteagle, Tenn., of which he is musical director. Over fifi 
pupils were enrolled, and thirteen recitals were given besides tl 
daily band concerts. Dr. H.ncbett expects to make an extendi 
Southern and Western concert tour in January and February fi 
which he has already a number of engagements. 

After a careful investigation of the actual results obtained tl 
New England Conservatory of Music has arranged to establish 
department of foundation technical training for the pianofort 
embracing the theories of Mr. A. K. Virgil, inventor of the prsctl, 
avier. The prospectus of the Conservatory for 1899-1900 is no 
ready. 


Prof. Charles E.McRPHY.violinsoloistoftheLiberattOn 

Concert Company, and his sister, Miss Gertrude Murphy a!!T ° 
panist, are two young American musicians of note. ’ 

Mrs. Lena Anderson has been engaged to teach the P 
Kindergarten Method in the School of Music, Indianapolis Ind °°' 



I feel that I can not afford to miss one of y onr advance 
offers, as they are always something of snperior worth 
to the progressive teacher. Mrs. E. H. De Bois. 

I want to thank yon for the promptness and accnracv 
with which yon have filled my orders during the past 
year. I hope to continue with yon during the comim- 
school year. Frances E. Waddle. 

I am very mnch pleased with the selection of pieces 
in Mathews’ “ Fifth and Sixth Grade Pieces. ” The selec¬ 
tion of pieces in “Concert Duets” is excellent, and I 
believe Schmoll’s “ Piano Studies ” jnst published are 
destined to fill an important place in the yonng piano 
student’s progress. F. J. Fuller. 

I received the “Modern Sonatinas,” and find them 
very pleasing, and instructive as well. 

Miss Corinne M. Goldsmith. 

I am very much pleased with Schmoll’s “Studies,” 
and shall use them in my teaching next season. 

C. W. Patterson. 


Riemann’s “ Dictionary ” I find satisfactory in every 
respect. Miss Y. Reynaud. 

I received Landon’s “ Reed Organ Exercises,” which 
you sent me “On Sale,” and am delighted with it. It 
is just what ,1 have always wanted since I have been 
teaching. Miss E. C. McConnell. 

The “OnSale ’’selections are carefully made, and jnst 
what I want. Lizzie E. Richardson. 

I find the “On Sale” music a very great convenience 
in my teaching, and think truly music teachers are 
greatly indebted to you for the favor it affords them. 

Frances A. H. Rice. 


I am using Mason’s “Two-Finger Exercises,” and 
find them of the greatest benefit to all my pnpils. 

Alice Carskadobb. 

I have used Mason’s “ Touch and Technic ” for sev¬ 
eral vears, and find there is nothing comparable with it. 
I find it so valuable that I translated the first volnme into 
Portuguese. Mrs. F. K. Brown. 

Am pleased with Mason’s “Touch and Technic,” and 
shall use it for my scholars. 

Mrs. C. W. Feabdcrff. 

The selection of “On Sale ” music sent me was excel¬ 
lent. Mrs. C. E. Marshall. 

The book of “Fifth and Sixth Grade Pieces” I am 
delighted to obtain, for I have desired snch a book in 
my work. Clara Wallace Hinsdale. 

I have never, at any time, had greater courtesy and 
attention shown to my orders than when dealing with 
you. Miss E. M. Sowes. 

Am very much pleased with the hooks and music, and 
find “Touch and Technic” particularly interesting. 

Mrs. C. E. Wynne. 

I find Dr. Hugo Riemann’s “Dictionary of Music” 
exactly as recommended, and it proves itself of mne 
valuable information to the music teacberor music stu¬ 
dent. E. E. Alspach. 

I am glad to tell you that I am both surprised and 
pleased with Riemann’s “Dictionary.” It is* o® 11 
some book. Eleanors G. Mkikle. 

I received my copy of Dr. Riemann’s “ Dictionary of 
Music,” and have examined it carefully. It is a 
every teacher and student should possess, being exce 
in every respect. Miss A. Gillespie. 

“ Ear Training,” by Heacox, has come, and is very 
satisfactory, indeed. I can give it my heartiest reco 
mendation. E. A. Faust. 

We are never afraid to recommend your “ Special 01 
fers, ” for they have al wavs surpassed our expec a 
“ Fifth and Sixth Grade Pieces ” and “ Concert Dnets 
are very fine, and we wish especially to . 

your new work, “ Studies and Stndy Pieces. . ' 

Schmoll, Book I. We are eagerly awaiting Books 
and III. Benedictine Sistkbs. 


VOLUME XVII■«NOVEMBER, 1899- NUMBER II 


SBSssi ijlip 

IhE-feS 


111CONTENTS I®! 


Biographical Study. Thomas Tapper .340 

The Do-Notbing. Harvey Wickham, .341 

Many Methods. A Plea for Liberalism. J. Francis Cooke, 341 

Thoughts, Suggestions, Advice,./ ‘ * oxe 

The Evil of Forcing Development. F. B. Hawkins, . . 346 

On Studying Sonatas. E. R. Kroeger, .346 

Unmusical People. Daniel Batchellor, .34/ 

The Art of Interesting Pupils. E. G. Higgins .347 

8ophie Menter and Cecile Chaminade. E. Baxter Ferry, 34b 

A Pitch Battle. Helena Maguire .®49 

Ideals For Piano Teachers. Cora Stanton Brown, . . . 360 
The Scales Again. Kate Waldo Peck, .360 


Too Much “ Thud 1 ” Herve Wilkins, 


360 


How to Interest Children. E. J. Decevee, . 

Growth. Frances C. Robinson, . 

A Talk to Students. Ernest T. Winchester, . 

How to Become a Composer. (7. Fred Kenyon . 

Suggestions to Students Going Abroad. Thaleon Blake, . 
Who Are Faddists ? Mrs. Emma Wilkins Gutmann, . . 
A Suggestion to Pupils: Obedience. Marcy B. Darnall, 
The Best Way to Form a Good Teaching Connection, . . 
A Necessary Part of a Teacher’s Equipment. W. F. Gates, 
Intensity as a Factor in Piano Study. O. W. London, . 

Why Go Abroad .. 

Practice and Health. II. L Teetzels, 


353 

353 

364 

364 

355 
350 

356 


367 


Arrogant Teachers. Clara A. Korn, . 

Modern English Choral Writers. E. H. Johnson, . ■ ■ 368 

Teachers Should Play for Pupils. Mary Hewson, . • 3o 

Study of Elocution a Help to the Musician. M. Memck, 3o 

About Minor Keys. T. L. Rickaby . d6U 

The Student’s Incentive. W. E. Snyder . 

"Don’ts” for Those About to Teach. M. Blackwood, 

Letters to Teachers. IF. S. B. Mathews . 

Letters to Pupils. J. S. Van Cleve, . 

Advertising Again, . 

Genius. Madame Pupin, . • • • 

Woman’s Work in Music. Edited by Fanny Morris Smith, 

Organ nnd Choir. Edited by Everett E. Truetle, • • • ■ 

Vocal Department. Conducted by H. IF. Greene, . . . ■ 

The Lowliest Teacher’s Work. Ada M. Kennicott, . • ■ 


360 

360 

361 

362 


364 

366 

868 

369 


MUSIC pBICK IK SHEET FORM 

Moment Musical. Op. 46, No. 1. P. Scharwenka, ■ • ? u “. 

Norwegian Dance. Op. 36, No. 2. E. Grieg .““ 

Lullaby. W.Kienzl, . ‘‘V 

Cavatina. Op. 85. J. Raff, . ’ „ 

Souvenir. Op. 10. No. 1. G. Karganoff, .jjjj 

E. Sorrentino, . 

IF. F. Sudds .op 

F. N. Lohr . 


Harriet March! „. 
A Darktown Frolic. 
The Crown of Love. 


13ED MONTHLY 

~ PER YEAR 

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an educational 
musical journal 

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